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Digitized  by  the  Internet  Archive 

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http://archive.org/details/hymnsthatOOhogu 


Hymns  that  are  Immortal 


K^-  "  i'  \ 


HYMNS  THAT  ARE 
IMMORTAL 

With  some  account   of  their 

Authorship,    Origin, 

History    and 

Influence 

f 


BY         / 

WILSON  T.  HOGUE,  Ph.  D. 

if*      if*      if*      1^ 


'^Teaching  and  admonishing  one  another  in  psalms  and 
hymns  and  spiritual  songs^  singing  with  grace  in  your 
hearts  to  the  Lord^ — Colossians  3:16, 


SECOND  EDITION 


CHICAGO,  ILLINOIS 

S.  K.  J.  CHESBRO,  Agent 

14  North  May  Steket 

1907 


Copyright  1906 

by 
Wilson  T.  Hogue 


DEDICATED 

TO   MY 

WIFE    AXD   DAUGHTERS 


PREFACE 

The  preparation  of  Hymns  that  are  Im- 
mortal was  undertaken  as  a  result  of  studies 
pursued  by  the  author  in  the  fulfilment  of 
duties  imposed  upon  him  by  his  appointment 
to  serve  on  a  committee  on  hvmn-book  re- 
vision,  and  also  from  a  conviction  that  there 
is  a  field  for  its  circulation  within  which  it 
will  accomplish  much  good. 

The  compilation  of  the  hymns  it  contains, 
and  of  the  historical,  biographical,  explana- 
tory and  illustrative  information  regarding 
them,  should  be  of  interest  to  all  Christians, 
and  of  particular  interest  and  helpfulness  to 
pastors,  evangelists,  lay  preachers,  Sunday- 
school  superintendents  and  teachers,  and  gos- 
pel workers  in  general.  One  special  aim  in 
the  production  of  the  work  has  been  that  of 
making  it  practically  helpful  to  these  classes. 

The  book  has  not  been  written,  however, 
for  the  foregoing  classes  exclusively  or  chief- 
ly. In  its  entire  preparation  the  author  has 
had  an  equal  regard  to  making  it  a  volume 
of   interesting  and   valuable  reading  matter 

Vll 


PREFACE 

for  the  Home  Circle,  and  especially  for  Sab- 
bath perusal. 

While  some  thirty  or  fortv  volumes  have 
been  consulted  in  the  preparation  of  the 
Avork,  and  due  credit  has  generally  been  given 
for  borrowed  matter  where  it  appears  in 
the  following  pages,  the  author  desires  to 
make  special  acknowledgement  of  aid  re- 
ceived from  the  following  works:  "A  Dic- 
tionary of  Hymnology,"  by  the  Rev.  John 
eTulian,  M.  A.,  a  monumental  work  of  more 
than  sixteen  hundred  closely  printed  double- 
column  pages,  with  sketches  of  about  five 
thousand  authors  and  translators  of  hymns, 
whose  productions  number  about  thirty  thou- 
sand; "The  Methodist  Hymn  Book  [British], 
Illustrated  with  Biography,  History,  Inci- 
dent and  Anecdote,"  by  George  John  Steven- 
son, M.  A.,  the  world's  leading  authority  on 
Methodist  hymnology ;  "English  Hymns, 
Their  Authors  and  Historv,"  bv  the  Rev. 
Samuel  Duftield,  j>erhaps  the  best  American 
work  on  the  subject;  "Annotations  I^pon 
Popular  Hymns,"  by  Charles  Seymour  Robin- 
son, D.  I).,  an  illustrated  volume  of  five  hun- 
dred eighty-one  double-column  pages,  closely 
printed,  based  on  the  "New  Laudes  Domini ;" 
"Historical  Sketches  of  Hymns,"  by  Joseph 
Belcher,  I).  D. :  "Hymn  Studies,"  bv  the  Rev. 

viii 


TREFACE 

Charles  S.  Nutter,  D.  D;  ''Hymns  Historical- 
h'  Famous,-'  by  Colonel  Nicholas  Smith ;  ''The 
Story  of  the  Hymns,"  by  Hezekiah  Butter- 
wortli ;  "Studies  in  Familiar  Hvmns,''  bv  the 
Rev.  Louis  F.  Benson.  D.I).;  and  "Hymns 
That  Have  Helped,"  by  Mr.  W.  T.  Stead. 

The  writing  of  the  book  was  mostly  done 
during  a  season  of  confinement  from  public 
duties  0(!casioned  by  a  broken  arm.  Under 
these  conditions  the  writer  had  an  excellent 
opportunity  to  test  the  value  of  the  hymns 
appearing  in  this  volume,  and  to  ascertain 
their  helpfulness  in  seasons  of  disappoint- 
ment and  affliction.  If  their  publication 
shall  in  any  degree  bring  to  others  such  de- 
light and  comfort  as  preparing  them  for  pub- 
lication in  their  ])resent  form  afforded  him, 
God  shall  have  the  praise.  w.  t.  h. 


IX 


CONTENTS 

PAGE 

Preface vii 

Introductory xiii 

Praise: 

I.  The  Te  Deum  Laudamus        -        -  3 

II.  Heber's  Trinity-Sunday  Hymn        -  14 

III.  Coronation:  The  English  Te  Deum  19 

IV.  Medley's  Hymn  to  Christ  Our  King  28 

V.  Bishop  Ken's  Sublime  Doxology        -  33 

Prayer : 

VI.  Montgomery's  Lyric  on  Prayer      -         -  43 

VII.  The  Mercy  Seat        -        .        -  47 

VIII.  Wrestling  Jacob 51 

IX.  John  Keble's  Evening  Hymn        -        -  63 
X.  A  Woman's  Hymn  on  Twilight   Devo- 
tion         -  72 

Consecration: 

XI.    Watts's  Hymn  on  the  Crucifixion        -      81 
XII.    Wesley's  Hymn  on  the  Living  Sacrifice    90 

XIII.  Ray  Palmer's  Hymn  of  Full  Surrender    94 

XIV.  Miss  Havergal's  Consecration  Hymn        102 

Salvation: 

XV.  Most  Helpful  Hymn  for  Seekers  -  in 

XVI.  Greatest  Hymn  of  the  Cross        -        -  120 

XVII.  Noblest  Heart-Hymn  Ever  Written  128 

XVIII.  Nearer,  My  God,  to  Thee        -        -  136 

XIX.  Great  Hymn  on  Purity  of  Heart         -  146 

XX.  A  Matchless  Hymn  on  Perfect  Love  150 

xi 


CONTENTS 


Resignation: 

XXI.    The  Cross-Bearer's  Hymn 

Schmolck's  Hymn  of  Resignation 
Thy  Will  Be  Done 


XXII. 

XXIII. 

Guidance: 

XXIV. 

XXV. 

XXVI. 

Trust: 

XXVIL 

XXVIII. 

XXIX. 

Warfare: 
XXX. 
XXXI. 

Missions: 
XXXII. 
XXXIII. 
XXXIV. 


Lead,  Kindly  Light 

Noble  Hymn  by  a  Welsh  Composer 

The  Shepherd  Psalm  in  Meter 

The  Firm  Foundation 


i6i 

169 
175 

181 
191 
201 

-  211 


Cowper's  Hymn  on  Divine  Providence  219 


Gerhardt's  Noble  Hymn  of  Trust 

Luther's  Battle-Hymn 
Processional  Hymn 


Prince  of  Missionary  Hymns 
Messiah's  Universal  Reign 
Hail  to  the  Lord's  Anointed 

Our  Country: 

XXXV.    National  Hymn 
XXXVI.    Battle-Hymn  of  the  Republic 

Death: 

XXXVIL  Abide  With  Me 

XXXVIII.  Asleep  in  Jesus 

XXXIX.  Crossing  the  Bar 

Future  Life: 

XL.    Prospect  of  Immortality 
XLL    The  Land  of  Pure  Delight 
XLII.    Forever  With  the  Lord 


232 

243 
256 

263 
271 
276 

283 
288 

297 

305 

308 

317 
320 

324 


xit 


INTRODUCTORY 

**I  wonder  if  over  a  song  was  sung 
But  the  singer's  heart  sang  sweeter  I 
I  wonder  if  ever  a  rhyme  was  rung 
But  the  thought  surpassed  the  meter!" 

The  hvmnodv  of  the  Christian  Church  is 
deserving  of  much  more  attention  than  it 
generally  receives  from  the  Christian  public. 
Its  influence  in  the  past  has  been  incalculable, 
and  it  is  to-day  one  of  the  most  powerful  in- 
strumentalities in  use  for  tile  diffusion  of 
Christian  truth  and  for  the  culture  of  the 
spiritual  life. 

God's  people  have  always  been  a  singing 
people,  and  the  singing  of  the  saints  has  ever 
been  a  mighty  inspiration  to  the  Church  in 
the  fierce  conflicts  she  has  encountered  in  at- 
tempting to  propagate  the  gospel  and  evan- 
gelize the  world.  Hebrew  psalmody  was  thor- 
oughly interwoven  with  the  whole  develop- 
ment of  the  Hebrew  nation,  and  Hebrew 
poetry  and  song  are  the  forms  in  which 
many  of  the  most  valuable  portions  of  the  in- 
spired Scriptures  have  come  down  to  us. 

xiii 


INTRODUCTORY 

The  early  Christians  in  particnhar  were 
singing  saints.  The  ]Master  Himself  led  them 
in  the  use  of  devotional  song.  Both  Matthew 
and  Mark  have  told  us  of  how,  after  He  had 
instituted  the  Lord's  Supper,  Jesus  and  His 
chosen  few  "sang  an  hymn" — probably  the 
Jewish  Hallel  of  Psalms  113  and  118 — as  a 
fitting  conclusion  to  the  solemn  service,  and 
then  ''went  out  into  the  Mount  of  Olives." 

Saint  Paul  also  is  an  authoritv  in  reference 
to  singing  as  having  formed  an  important  part 
of  early  Christian  worship.  He  both  recognizes 
the  custom  and  emphasizes  its  value  when, 
10  the  Colossian  Christians,  he  writes :  "Let 
the  word  of  Christ  dwell  in  vou  richlv  in  all 
wisdom;  teaching  and  admonishing  one  an- 
other in  psalms  and  hymns  and  spiritual 
songs,  singing  Avith  grace  in  your  hearts  to 
the  Lord"  (Col.  3:10).  Numerous  rythmical 
passages  in  his  epistles  are  also  fragments  of 
primitive  hymns,  suggesting  both  the  doc- 
trinal and  devotional  value  of  singing  in  the 
early  Church.  His  marvelous  climax  relative 
to  the  great  "'mystery  of  godliness"  (1  Tim. 
3:16),  which  most  beautifully  summarizes 
the  fundamental  items  in  the  Christology  of 
the  primitive  Church,  is  a  striking  example. 

'Tertullian  [born  before  A.  D.  160,  died 
after  A.   D.   220]    records   that  at  the   love 

xiv 


INTRODUCTORY 

feasts,  after  water  was  furnished  for  the 
hands  and  the  lights  lit,  according  as  any 
could  remember  Scripture  or  compose,  *  *  * 
he  Avas  invited  to  sing  praises  to  God  for  the 
general  good;"  and  Pliny's  declaration,  that 
"the  Christians  are  wont  on  a  fixed  day,  be- 
fore dawn,  to  meet  and  sing  a  hymn  in  al- 
ternate responses  to  Christ  as  God.''  is  gen- 
erally familiar. 

Throughout  all   subsequent  ages  Christian 
hymnodv   has   increased   in   volume,   richness 

t  t 

and  effectiveness.  Some  estimate  of  the  im- 
portant part  it  has  wrought  in  the  making 
of  Christian  history  may  be  formed  from  con- 
sidering  the  voluminous  amount  of  livmnic 
literature  now  extant.  The  total  number  of 
distinctively  Christian  hvmns  in  existence  is 
not  less  than  400,000  and  Mr.  W.  T.  Stead,  in 
his  valuable  little  volume  on  ^"Hvmns  That 
Have  Helped,"  gives  the  aggregate  number  as 
500,000.  German  composers  have  produced 
nearly  100,000.  English  composers  have  pro- 
duced the  next  largest  number.  Dr.  Watts 
alone  wrote  between  five  and  six  thousand, 
and  Charles  Wesley  upwards  of  six  thousand 
five  hundred.  It  is  estimated  that  the  hymns 
of  Watts,  Wesley,  l^rowne,  Doddridge,  New- 
ton, Beddome,  Kelly  and  Montgomery  now  in 
use  number  about  B,500;  and  ^'Mr.  Sedgwick. 

XV 


IXTRODl'CTORY 

an  English  writer  on  hymns,  i)nblished  in 
1801  a  catalooue  of  018  authors  who  are  rep- 
resented in  the  various  English  hymn-books." 

There  can  be  no  reasonable  doubt  that 
those  hymns,  and  tunes  as  well,  Avhich  have 
stood  the  tests  of  time  and  criticism,  and 
have  won  their  way  to  general  recognition 
as  classic  productions,  are  best  suited  on  the 
whole  to  producing  reverence,  devotion,  spir- 
itualitv,  and  general  soundness  in  the  faith. 
This  being  true,  the  growing  tendency,  aris- 
ing largely  from  the  jirevalence  of  a  wide- 
spread but  shallow  and  sensational  revival- 
ism, to  relegate  these  noble  prodtictions  to 
the  shades  of  forgetfulness.  and  to  substitute 
therefor  a  class  of  undignified  and  shallow 
ditties,  and  too  often  of  wretched  doggerel 
and  mere  jingling  "rag-time''  melodies,  is  an 
evil  omen,  and  greatly  to  be  lamented. 

('hristians  should  learn  to  distinguish  be- 
tween good  hvmns  and  mere  sentimental 
jingles;  between  hymns  that  can  be  sung  by 
the  soul,  and  those  Avhich  are  sung  chiefly  by 
the  feet.  According  to  Earl  Nelson,  as 
quoted  by  Hezekiah  Butterworth,  the  marks 
of  a  good  hymn  are  the  following:  '*1.  It 
must  be  full  of  Scripture.  2.  Full  of  indi- 
vidual life  and  reality.  3.  It  must  have  the 
acceptance  of  the  use  of  the  church.     4.     It 

xvi 


INTRODUCTORY 

must  be  pure  in  its  English,  its  rhvme  and  its 
rvthm."  The  same  eminent  authority  also 
adds :  "A  hymn  coming  from  a  deep  com- 
munion with  God,  and  from  the  special  ex- 
perience of  the  human  heart,  at  once  fulfils, 
and  only  can  fulfil,  the  tests  I  haye  ventured 
to  lay  down.'' 

In  his  "Preparation  and  Deliyery  of  Ser- 
mons" Dv.  John  A.  Broadus  sets  forth  the 
qualities  of  a  good  hymn  more  at  length,  and 
from  his  presentation  of  the  subject  we  giye 
the  following  summar}^ :  "A  good  hymn  must 
be:  ''(a)  Correct  in  sentiment,  (b)  Deyo- 
tional  in  spirit,  (c)  Poetical  in  imagery  and 
diction,  (d)  Rythmical;  being  correct  as  to 
meter,  animated  and  yaried  in  moyement,  and 
yet  not  rugged  or  halting,  but  truly  melo- 
dious, (e)  Symmetrical;  the  yerses  exhibit- 
ing a  regular  progress  in  thought,  and  form- 
ing a  complete  and  harmonious  whole." 

A  collection  of  hymns  conformed  to  the 
foregoing  standards  is  of  immeasurable 
worth  as  an  inspiration  in  public  worship,  an 
aid  to  priyate  deyotion,  and  a  means  of  con- 
serying  and  propagating  sound  doctrine.  The 
hymns  of  such  a  collection  '^haye  been  culled 
from  the  sacred  poetiw  of  all  ages,  and  so  rich 
and  abundant  is  the  material  that  only  the 
best  lyrics  of  the  best  poets  can  find  a  per- 

xvii 


INTRODUCTORY 

maneiit  place  among  them.''  Such  hjmns 
were  never  written  as  a  pastime,  nor  as  an  ex- 
perimentation in  the  art  of  poesy;  but,  like 
tiie  productions  of  the  Hebrew  Psalter,  they 
have  as  a  rule  been  born  of  experiences  so 
profound,  varied  and  pathetic,  that  they  voice 
the  universal  emotions  of  humanity,  thereby 
enshrining  themselves  forever  in  the  favor 
of  mankind. 

As  a  rule  the  standard  hvmns  have  had  an 
origin  and  history  the  knowledge  of  which 
serves  to  exalt  tliem  in  public  appreciation, 
and  to  increase  their  value  as  aids  to  both 
public  and  private  devotion ;  and  it  is  the  ob- 
ject of  this  volume  to  contribute  In  some  de- 
gree to  a  wider  intelligence  than  now  prevails 
regarding  the  authorship,  origin,  history  and 
influence  of  a  few  of  the  great  hymns  of  the 
church. 

The  hvmns  considered  in  the  following 
pages  are  all  far  above  commonplace — hymns 
universallv  recoonized  as  classics  and  master- 
pieces  of  their  kind.  They  are  productions 
with  which  every  one  ^ho  speaks  the  English 
language  should  be  familiar,  and  which  the 
author  urges  young  people  especially  to  com- 
mit thoroughly  to  memory.  Thus  treasured 
in  the  mind  they  will  not  only  serve  as  power- 
ful aids  in  the  building  up  of  character,  but, 

xviii 


INTRODLX^TORY 

through  the  coming*  years,  will  also  afford  de- 
lightful companionships  along  the  rugged 
hiahwav  of  life,  and  be  found  invaluable 
sources  of  light,  inspiration  and  comfort  in 
times  of  darkness  and  depression,  and  amid 
the  gathering  shadows  of  life's  declining 
"s  ears. 


X!X 


Praise 


THE  TE   DEUM    LAUDAMUS 

What  is  generally  considered  the  sublimest 
and  most  regal  of  all  Christian  hymns  is  one 
that  has  come  down  to  us  through  thirteen 
centuries  and  more,  bearing  the  title,  Te 
DeuTii  Laudamus,  from  the  opening  words  of 
the  Latin  text,  Te  Deum  laudamus,  Te  Do- 
minum  confitemur — "We  praise  Thee,  O  God, 
we  acknowledge  Thee  to  be  the  Lord."  Its 
majestic  and  inspiring  strains  have  for  ages 
been  among  the  most  familiar  rythmical  ex- 
])ressions  of  devotion  in  every  great  cathedral 
of  the  world,  and  its  lofty  sentiments  of  ador- 
ing reverence  have  evoked  responsive  echoes 
throughout  all  Christendom. 

Three  great  Christian  hymns  have  come 
down  to  us  from  antiquity — the  Trisagion,  or 
Thrice  Holy,  the  Gloria  in  Excelsis,  and  the 
Te  Deum — "which  belong  peculiarly  and  ex- 
clusively to  no  sect  or  section  of  the  Church, 
but  equally  to  the  whole  Church.  Neither 
Churchman  nor  Romanist  can  claim  exclu- 
(sive  proprietorship  in  them;  but,  like  the  Bi- 


HYMNS  THAT  ARE  IMMORTAL 

ble  itself,  of  which  they  are  so  evidently  the 
offspriug,  they  belong  to  all  who  'profess  and 
call  themselves  Christians/  of  every  tongue 
and  clime." 

The  Te  Denm  is  exceedingly  valuable  as  a 
summary  of  orthodox  Christian  beliefs,  as 
well  as  for  its  adaptation  to  the  loftiest  pur- 
})oses  of  holy  song  among  great  assemblies 
of  worshipers.  Although  partaking  more  the 
character  of  "measured  prose"  than  of  exact 
m.eter,  it  is  nevertheless  poetic  in  conception 
and  si)irit,  and  also  in  its  lofty  reach  and 
measured  and  majestic  sweep.  Rendered  as 
we  once  heard  it  at  one  of  the  Sabbath  ser- 
vices of  a  great  eastern  university  there  is 
a  power  in  it  sufficient  to  lift  one  well  nigh 
to  the  third  heaven.  The  following  is  the 
English  text: 

We  praise  Thee,  O  God :  we  acknowledge  Thee 
to  be  the  Lord. 

All  the  earth  doth  worship  Thee,  the  Father  ever- 
lasting. 

To  Thee  all  angels  cry  aloud :  the  heavens  and  all 
the  powers  therein. 

To  Thee  the  cherubim  and  seraphim  continually 
do  cry. 

Holy,  holy,  holy,  Lord  God  of  Sabaoth : 

Heaven  and  earth  are  full  of  the  majesty  of  Thy 
glory. 

The  glorious  company  of  the  Apostles  praise  Thee. 


THE  TE  DEUM  LAUDAMUS 

The  goodly  fellowship  of  the  Prophets  praise  Thee, 

The  noble  army  of   the  Martyrs  praise  Thee. 

The  holy  Church  throughout  the  whole  world  doth 

acknowledge  Thee ; 
The  Father  of  an  Infinite  Majesty : 
Thine  adorable,  true,  and  only  Son; 
Also  the  Holy  Chost  the  Comforter. 
Thou  art  the  King  of  gloiy,  O  Christ. 
Thou  art  the  everlasting  Son  of  the  Father. 
When    Thou    tookest    upon    Thee    to    deliver    man. 

Thou  didst  humble  Thyself    to    be    born  of   a 

virgin. 
When  Thou  hadst  overcome  the  sharpness  of  death. 

Thou  didst  open  the  kingdom  of  heaven  to  all 

believers. 
Thou  sittest  at  the  right  hand  of  God,  in  the  glorj' 

of  the  Father. 
We  believe  that  Thou  shal't  come  to  be  our  Judge. 
We  therefore  pray  Thee,  help  Thy  servants   whom 

Thou  hast   redeemed  with  Thy  precious   blood. 
Make    them    to    be   numbered    with   Thy   saints    in 

glory  everlasting. 
O  Lord,  save  Thy  people,  and  bless  Thine  heritage. 
Govern  them,  and  lift  them  up  for  ever. 
Day  by  day  we  magnify  Thee ; 
And    we    worship   Thy    name    ever,    world    without 

end. 
Vouchsafe,  O  Lord,  to  keep  us  this  day  without  sin. 
O  Lord,  have  mercy  upon  us.  have  mercy  upon  us. 
O  Lord,   let  Thy  mercy    lighten  upon    us,    as    our 

trust  is  in  Thee. 
O   Lord,   in   Thee  have  I  trusted,   let  me  never  be 

confounded. 

Dr.  Philip  Scbaff"  has  characterized  this  as 

5 


HYMXS  THAT  AKK  IM MORTAL 

a  ''magnificent  antbeni,  *  *  *  whirh  is 
wortln^  of  a  ])lace  among  David's  Psalms  of 
thanksgiving." 

Mrs.  Bundle  Cliarles,  author  of  ''The 
Chronicles  of  the  Schonberg  Cotta  Family," 
savs:  ''It  is  at  once  a  hvmn,  a  creed  and  a 
])rayer.  It  is  a  creed  taking  wing  and  soar- 
ing heavenward;  it  is  Faith  seized  with  a 
►sudden  joy  as  she  counts  her  treasures,  and 
lading  them  at  the  feet  of  Jesus  in  a  song; 
it  is  the  incense  of  prayer  rising  so  near  the 
rainbow  round  about  the  throne  as  to  catch 
its  light  and  become  radiant  as  well  as.  fra- 
grant—  a  cloud  of  incense  illumined  into  a 
cloud   of  glory." 

Colonel  Nicholas  Jr^mith,  in  his  "Hvmns 
Historically  Famous,"  pronounces  it  "the 
kingliest  of  all  the  songs  which  have  come 
down  to  us  from  anti(iuity."  and  further 
says,  "In  universality  of  use  no  ascription 
of  praise  in  modern  times  compares  with  it, 
except  IMshoj)  Ken's  doxology." 

Dr.  W.  R.  Huntington,  of  New  York,  is 
ciuoted  as  saying:  "Other  hymns  may  sur- 
l)ass .  the  Te  Deuni  in  exhibition  of  this  or 
that  state  of  feeling,  but  there  is  none  other 
ihat  combines,  as  this  combines,  all  the  ele- 
ments that  enter  into  a  Christian's  concep- 
tion of  reliiiion.    The  Te  Dor.m  i-s  an  orches- 


THE  TE  DEr:M  LAUDAMUS 

tra  in  which,  no  single  instrument  is  lacking ; 
first  or  last,  every  chord  is  struck,  every  note 
sounded.  The  soul  listens  and  is  satisfied; 
not  one  of  her  large  demands  has  been  dis- 
honored.'' 

The  authorship  of  this  ancient  production 
is  involved  in  obscurity.  Tt  has  been  popu- 
larly but  uncritically  ascribed  to  St.  Am- 
brose,  or,  more  accurately  speaking,  to 
Saints  Ambrose  and  Augustine  conjointly. 
A  picturesque  and  popular  tradition  relates 
how  Ambrose,  as  he  led  Augustine  up  from 
his  baptism,  under  a  sudden  inspiration  from 
above  broke  out  in  singing. 

"We   praise   Thee,    O    God :    we    acknowledge   Thee 
to  be  tbe  Lord ;" 

whereu])on  Augustine,  under  the  power  of  a 
like  inspiration  responded, 

"All  tbe  earth  doth  worship  Thee,  the  Father  ever- 
lasting :" 

and  that  the  whole  hymn  was  produced  in 
this  manner,  Ambrose,  and  Augustine  each 
responsively  producing  and  singing  verse 
after  verse. 

This  account  must  be  regarded  as  chiefly 
symbolical  and  legendary,  however,  inasmuch 
as  no  mention  is  made  of  either  the  circum- 
stance or  the  hvmn  in  the  works  of  the  distin- 


HYMNS  THAT  ARE  IMMORTAL 

giiished  fathers  to  whose  joint  .authorship  it  is 
ascribed.  Nor  has  the  most  thorough  research 
found  any  mention  of  the  hymn  as  employed 
in  i)ublic  worship  before  the  beginning  of  the 
sixth  century,  when  St.  Caesarius  Aries  or- 
dered it  to  be  sung  in  the  Sunday  morning 
services.  It  is  generally  believed  among 
scholars  to  have  originated,  like  the  Apostles' 
Creed,  in  a  growth  covering  a  consider- 
able period  of  time.  Dr.  Schaff  informs 
us  that  several  lines  of  the  hymn,  as 
it  finally  a})peared  at  the  beginning  of  the 
sixth  centurv,  "can  be  traced  to  an  older 
Greek  original,"  and  the  Schaff-Herzog  En- 
cyclopedia of  Religious  Knowledge  regards  it 
as  "a  translation,  in  part,  probably  by  Am- 
brose, of  an  older  Greek  hymn."  From  its 
popular  ascription  to  St.  Ambrose  it  is  known 
as  "the  Ambrosian  hymn." 

The  Te  Deum  has  been  associated  with  a 
greater  variety  of  celebrated  events  in  history 
than  anv  other  hvmn  of  the  Church.  It  is 
commonly  sung  on  all  great  occasions  of  de- 
liverance and  triumph,  and  at  the  coronation 
of  kings  and  queens.  "Its  strains  have 
leaped  the  barriers  of  thirteen  centuries,  hav- 
ing been  chanted  at  the  baptism  of  Clovis, 
at  Paris,  in  496,  sung  at  the  coronation  of 
Nicholas  II.,  of  Russia,  1894,  and  in  1897  it 

8 


THE  TE  DEUM  LAUDAMUS 

was  the  song  of  rejoicing  at  the  Diamond 
Jubilee  ot  Queen  Victoria."  It  is  said  to 
have  been  sung  by  order  of  Frederick  the 
Great  to  commemorate  the  battle  of  Prague 
in  1774,  to  the  setting  by  Graun,  generally 
regarded  as  the  most  famous  musical  render- 
ing of  the  hymn  on  the  Continent.  It  was 
also  sung  to  celebrate  the  recovery  of  the 
Prince  of  Wales  in  1872,  and  as  a  hymn  of 
thanksgiving  for  the  safety  of  Napoleon  III., 
in  1854.  Naturally  enough  in  view  of  its 
celebrity,  it  is  "a  theme  upon  which  the  most 
celebrated  composers  have  exercised  their 
musical  genius." 

This  hymn  was  largely  instrumental  in  the 
conversion  of  Thomas  Olivers,  a  verv  wicked 
and  profligate  youth,  who  finally  became  a 
Wesleyan  preacher  of  great  power,  and  who 
WTOte  the  hymn  beginning, — 

"The  God  of  Abrah'm  praise, 
Who  reigns  enthroned  above," 

which  has  won  highest  praise  from  poets  and 
scholars  generally.  Olivers  became  one  of 
Wesley's  most  valued  preachers,  and  was  con- 
sidered by  Wesley  as  fully  a  match  for  Top- 
lady  in  the  doctrinal  discussions  incident  to 
the  great  Calvinistic  controversy  of  the  time. 
After   thirty -six   vears    of   faithful    and    effi- 


HYMNS  THAT  ARE  IMMORTAL 

cient  work  be  passed  peacefully  to  his  reward 
ill  1799. 

The  following  narrative,  calling  to  mind  a 
bit  of  thrilling  and  comparatively  recent  his- 
tory with  which  the  Te  Deuni  was  and  ever 
will  be  associated,  is  quoted  from  Colonel 
Smith's  ^'Hvmns  Historically  Famous:" 

''The  universality  of  the  Te  Deum  is  illus- 

ft 

trated  in  this  incident:  On  the  first  Sunday 
in  Sej)tember,  1900,  a  solemn  high  mass  was 
celebrated  in  the  Cathedral  of  Peking.  It 
was  a  thanksgiving  service  in  which  the  peo- 
ple joined  in  expressing  gratitude  that  the 
armies  of  the  allied  powers  had  so  promptly 
and  successfully  marched  to  the  city  at  the 
trumpet  call  of  humanity. 

"There  were  two  special  features  associ- 
ated with  that  solemn,  yet  inspiring  occa- 
sion. On  the  facade  and  spires  of  the  Cathe- 
dral, that  had  suffered  much  from  the  shot 
and  shell  of  the  Boxers,  waved  in  triumph  the 
flags  of  America,  Austria,  Belgium,  France, 
Great  Britain,  Italy,  Japan  and  Russia. 
Among  tbe  worshipers  on  that  day  were  min- 
isters representing  many  governments,  and 
missionaries  of  all  creeds.  The  climax  of  in- 
terest was  reached  when  the  organ  and  choir 
broke  forth  into  that  universal  ascription  of 
praise — the  Te  Deum  Laudamus.     It  seemed 

10 


THE  TE  DEUM  LAUDAMUS 

to  thrill  that  body  of  men  and  women  as  no 
other  com]>osition  possibly  could  at  such  a 
time  as  that.  'It  was  the  anthem  of  the 
brotherhood  of  men  on  that  day.' '' 

It  will  be  a  matter  of  interest  to  Methodist 
readers  in  particular  to  know  that  Charles 
Wesle}-  wrote  a  sublime  metrical  paraphrase 
of  this  stately  and  ancient  hymn.  The  para- 
phrase contained  fourteen  six-line  long  meter 
stanzas,  and  was  published  in  the  poet's 
"Hymns  for  Those  That  Seek  Redemption." 
in  1747.  In  the  English  Hymn  Book  of  later 
date  it  is  so  diy'ded  as  to  make  three  hymns 
respectiyely  beginning  as  follows : 

"Infinite   God,    to   Thee   we   raise." 
"Messiab,  joy  of  every  heart." 
"Savioi-,   we   now   rejoice   in   hope." 

In  the  ^Methodist  hymnals  of  this  country 
only  a  part  of  the  paraphrase  appears;  nor 
is  there  uniformity  among  the  yarious  books 
as  to  the  portions  used,  each  compiling  com- 
mittee combining  into  a  single  hymn  such 
stanzas  of  the  original  as  best  suits  the  ma- 
jority. The  following  stanzas  will  giye  a  fair 
idea  of  the  general  character  of  the  hymn  as 
I»araphrased  by  tlie  poet  of  Methodism : 

Infinite  God,  to  Thee  we  raise 

Our  hearts  in  solemn  songs  of  praise : 

II 


HYMXS  THAT  ARE  IMMORTAL 

By  all  Tby  works  on  eartb  adored, 
We  worship  Thee,  the  common  Lord ; 
The  everlasting  Father  own, 
And  bow  ourselves  before  Thy  throne. 

God  of  the  patriarchal  race. 

The  ancient  seers  record  Thy  praise ; 

The  goodly  apostolic  band 

In   highest  joy  and  glory  stand ; 

And  all  the  saints  and  prophets  join 

To  extol   Thy   majesty   divine. 

Head  of  the  martyr's  noble  host. 
Of  Thee  they  justly  make  their  boast; 
The  Churr-h  to  earth's  remotest  bounds. 
Her  heavenly  Founder's  praise  resounds; 
And  strives  with  those  around  the  throne, 
To  hymn  the  mystic  Three  in  One. 

Father  of  endless  majesty, 
All  might  and  love  we  render  Thee ; 
Thy  true  and  only  Son  adore, 
The  same  in  dignity  and  power ; 
And  Cod  the  Holy  Ghost  declare. 
The  saints'  eternal  Comforter. 

Tune — "St.  Chrysostom." 

There  is  a  stateliness  and  sublimity  charac- 
teristic of  the  Te  Deiim  Laudamus  in  its 
original  form  which  Mr.  Wesley  has  admir- 
ably preserved  in  his  incomparable  para- 
phrase of  the  same.  According  to  Mr.  Ste- 
venson this  paraphrase  has  very  generally 
but   erroneously   been   ascribed   to   the    poet 

12 


THE  TE  DEUM  LAUDAMUS 

Dryden,  who  published  a  version  of  the  hymn, 
but  much  inferior  to  this.  Drjden's  is  in 
decasyllabic  verse,  and  begins — 

"Thee,   sovereign   God,  our  grateful   accents  praise, 
We    own    Tbee    Lord,    and    bless    Thy    wondrous 
ways." 


13 


n 

heber's  trixity-suxday  hyimn 

The  noblest  of  all  livmns  ever  written  to 
express  adoration  of  tlie  Holy  Trinity  is 
Bishop  Heber's  hvmn  for  '^Trinity  Sunday,'^ 
beginning, 

"Holy.  holy.   holy.   Lord  God  Almighty!" 

Xo  accoun:  of  its  origin  is  available,  the  hymn 
not  having  been  published  until  after  the 
death  of  its  illustrious  author,  and  nothing 
regarding  how  it  came  to  be  written  having 
been  left  among  his  effects.  To  the  end  of 
time,  however,  this  majestic  anthem  will 
stand  on  its  merits  and  rank  ampng  the 
loftiest  and  sublimest  productions  in  the 
hvmnodv  of  the  Church.  Tennvson  regarded 
it  as  the  finest  devotional  lyric  ever  written 
in  any  language. 

Reginald  Heber,  the  author  of  this  famous 
production,  was  born  at  Malpas,  Cheshire, 
England,  in  April,  1783.  He  was  educated 
at  Oxford,  where  he  early  won  the  prize  for 
the  best  poems  in  both  Latin  and  English. 

14 


<3  «»^_ 


-»*- 


REGINALD  HEBER. 


HEBER'S  TRINITY-SUNDAY  HYMN 

He  traveled  two  years  after  leaving  the  uni- 
versity, and  then,  after  his  ordination  in 
1807,  became  rector  at  Hodnet.  the  family  liv- 
ing of  that  parish  having  been  given  him 
by  his  brother.  For  sixteen  vears  he  labored 
faithfully  among  the  people  of  Hodnet,  to 
whom  he  became  greatly  endeared.  He  was 
appointed  Missionary  Bishop  to  Calcutta  in 
1823,  after  having  on  two  former  occasions 
declined  the  appointment  on  account  of  his 
wife  and  child.  His  deep  interest  in  mis- 
sions, however,  and  particularly  his  fondness 
for  India,  finally  led  him  to  accept  the  ap- 
pointment; and,  on  June  16th,  1823,  he 
turned  from  his  delightful  home  at  Hodnet 
toward  his  new  field  on  "India's  coral 
strand,"  never  again  to  revisit  the  scenes  from 
which  he  so  reluctantlv  and  vet  courageouslv 
turned  awav. 

I. 

Bishop  Heber  entered  upon  the  work  of  his 
vast  field,  which  included  all  India,  Ceylon, 
the  Mauritius,  and  Australasia,  with  great 
zeal  and  courage;  and  his  admirable  spirit, 
great  abilities  and  energetic  devotion  to  the 
welfare  of  India's  millions  left  a  deep  and 
imperishable  impression  for  good  upon  his 
extensive  diocese.  But  the  good  man's  admin- 
istration was  destined  to  be  brief.  Return- 
ing from  a  service  at  Trichinopoly,  April  3rd, 

15 


HYMNS  THAT  ARE  IMMORTAL 

1820,  where  he  had  confirmed  a  large  class  of 
natives,  he  retired  for  the  purpose  of  taking 
a  cold  bath,  and  half  an  hour  later  was  found 
dead  in  his  room  by  his  servant,  a  stroke  of 
apoplexy  having  taken  him  off  instantly. 

Bishop  Heber  wrote  fifty-seven  hymns  of 
rare  merit,  all  of  which  are  supposed  to  have 
been  written  during  his  ministry  at  Hodnet, 
and  all  of  which  are  said  to  be  in  common 
use.  He  will  always  be  particularly  and  de- 
lightfully remembered  in  connection  with  and 
as  the  author  of  that  stirring  missionary 
hymn. 

"From   Greenlaiid's  icy  mountain," 

considered  elsewhere  in  this  volume,  and 
which  alone  would  have  been  sufficient  to  im- 
mortalize his  name.  But  the  sublimest  and 
divinest  of  all  his  sacred  lyrics  is  Trinity- 
Sunday  Hymn,  of  which  the  following  in  the 
original  form: 

Holy,  holy,  holy,  T^rd  God  Almighty! 

Early  in  the  morning  our  song  shall  rise  to  Thee; 

Holy,   holy,  holy,  merciful'  and  mighty! 

God  in  Three  Persons,  blessed  Trinity! 

Holy,  holy,  holy!  all  the  saints  adore  Thee, 
Casting  down  their  golden  crowns  around  the  glassy 

sea, 
Cherubim  and  Seraphim  falling  down  before  Thee, 
Which  wert,  and  art,  and  evermore  shall  be, 

i6 


HEBER'S   TRINITY-SUNDAY   HYMN 

Holy,   holy,   holy  I   though  the  darkness  hlcle  Thee, 
Though  the  eye  of  sinful  man  Thy  glory  may  not 

see, 
Only  Thou  art  holy,  there  is  none  beside  Thee, 
l*erfect  in  power,  in  love,  in  purity. 

Holy,  holy,   holy.  Lord  God  Almighty! 

All  Thy  works  shall  praise  Thy  name  in  earth  and 

sky  and  sea ; 
Holy,  holy,  holy,  merciful  and  mighty ! 
God  in  Three  Persons,  blessed  Trinity. 

Tune — "Nicea." 

"This  grand  hymn  has  been  sung  into 
great  popularity/'  says  Mr.  G.  J.  Stevenson, 
^'aniong  Churchmen  whose  music  is  in  keep- 
ing with  their  ritual ;  but  the  spiritless  level 
of  their  monotonous  chant  has  been  utterly 
unsuited  to  the  words  themselves.  Sung  on 
Sabbath  morning  as  an  anthem,  as  it  now 
is  every  Sunday  in  some  Methodist  churches, 
to  the  tune  'Trinity/  by  A.  Stone,/  it  goes 
with  exhilarating  force.  The  words  and  mu- 
sic harmonizing,  raise  the  singer  to  the  high- 
est point  of  hallowed  praise.  It  thus  becomes 
a  kindling  and  exultant  melody.'' 

While  ''Trinity"  may  be  the  tune  most  ac- 
ceptable to  English  Methodists,  "Nicea,"  in 
the  composition  of  which  for  this  particular 
hA'mn  in  adoration  of  the  Holv  Trinity  no 
less  a  master  than  Dykes  "reached  the  zenith 

17 


HYMNS  THAT  ARE  IMMORTAL 

of  his  musical  genius,"  is  generally  regarded 
as  better  suited  to  the  character  of  the  hvnm 
than  any  other  ever  written.  The  tune  was 
happily  named  from  Nice,  in  Asia  Minor, 
where,  in  A.  D.  .325.  the  first  Christian  Ecu- 
menical Council  was  held,  which  determined 
that  the  Eternal  Sonship  of  Christ  and  his 
equality  with  the  Father  should  constitute  a 
part  of  the  creed  of  the  Church.  The  great 
popularity  of  the  hymn  is  chiefly  due  to  its 
association  with  this  majestic  tune,  to  which 
it  is  usually  sung  throughout  the  English- 
speaking  world. 

"Holy,  holy,  holy,"  was  first  published 
among  Bishop  Heber's  posthumous  hymns, 
in  1827.  accordiuo^  to  Julian's  •'Dictionary  of 
Hymnology."  It  was  soon  adopted  by  hymn- 
book  compilers  generally,  and  at  length  be- 
came the  best  known  and  most  widely  used  of 
all  the  author's  hymns.  It  is  a  magnificent 
metrical  paraphrase  of  Revelation  4  :  8-11 : 
''And  they  rest  not  day  and  night  saying. 
Holy,  holy,  holy.  Lord  God  Almighty,  which 
was,  and  is,  and  is  to  come,"  etc.  Xor  could 
the  S]»irit  of  the  whole  chapter  be  better  ex- 
pressed in  metrical  form  than  Heber  has  ex- 
pressed it  in  this  incomparable  anthem. 


i8 


ni 

CORONATION:   THE   ENGLISH   TE   DEUM- 

No  loftier  hymn  of  praise  to  Jesus  Clirist 
has  ever  been  written  in  any  language  than 
Perronet's 

"All  hail  the  power  of  Jesus'  name." 

"If  the  Te  Deum  be  the  Hymn  of  Praise  set 
apart  by  the  Universal  Church  as  the  su- 
preme expression  of  gratitude  and  adora- 
tion/' savs  Mr.  W.  T.  Stead,  ^'the  hvmn  which 
serves  the  same  purpose  m  English  congre- 
gations is  ^A.11  Hail  the  Power  of  Jesus' name.' 
It  is  one  of  the  ten  hymns  most  used  in  English- 
speaking  lauds."  It  was  written  in  1779,  and 
was  first  x>ublished  anonymously  in  the  Gos- 
pel Magazine  the  following  year.  In  1785 
it  appeared  in  a  collection  of  ^'Occasional 
Verses,  Moral  and  Sacred,'  which,  though 
anonymous,  was  generally  known  to  be  Mr. 
Perronet's  production.  It  is  the  only  hymn  of 
the  author  which  has  found  its  way  into 
standard  hymnals,  ''but  one  needs  to  write 

19 


HYMNS  THAT  ARE  IMMORTAL 

only  one  such  livmn  to  gain  an  enviable  im- 
mortality in  the  Christian  Church." 

Edward  Perronet,  son  of  the  Rev.  Vincent 
Perronet.  ''an  excellent  English  clergyman  of 
the  old  school,  who  was  vicar  at  Shoreham 
for  fifty  years,"  and  at  one  time  a  confiden- 
tial  friend  of  John  Weslev,  was  a  man  of 
very  unassuming  character.  His  life  was  one 
of  trying  and  changeful  vicissitudes,  amidst 
which  he  was  ever  sustained  by  a  strong  and 
unwavering  faith.  Though  a  member  of  the 
English  Church  he  was  for  some  time  a 
Methodist  itinerant  preacher  under  John 
Wesley,  with  whom  he  endured  many  hard- 
ships,  as,  for  instance,  when  at  Bolton  he 
*'was  thrown  down  and  rolled  in  mud  and 
mire,"  while  at  the  chapel  "stones  were 
hurled  and  windows  broken."  He  was  one 
of  the  preachers  appointed  under  the  patron- 
age of  the  Countess  of  Huntington,  in  which 
position  his  ardent  zeal,  coupled  with  his 
deep  humility  and  his  broad  and  tender  sym- 
pathy, made  him  a  shining  success. 

At  heart,  however,  Mr.  Perronet  was  de- 
cidedly hostile  to  the  union  of  Church  and 
State,  and  this  hostility  finally  found  out- 
ward  expression  in  the  production  of  an  a- 
nonymous  poem  entitled,  "The  Mitre,"  which 
was  devoted  to  keenly  satirizing  the  Estab- 

20 


CORONATION 

lished  Church.  This  brought  upon  him  the 
strong  disapprobation  of  the  Countess,  and 
finally  occasioned  his  withdrawal  from  the 
position  held  under  her  patronage.  Later 
he  became  pastor  of  a  small  congregation  of 
Dissenters,  to  whom  he  ministered  accept- 
ably until  summoned  from  earthly  labor  to 
his  heayenly  reward,  in  January,  1792. 

The  death  of  Perronet  is  described  as  a 
most  triumphant  one.  His  last  utterances, 
well  worthy  the  author  of  that  matchless 
hymn  which  has  been  an  inspiration  to  so 
many  millions,  added  much  to  the  sublimity 
and  impressiyeness  of  the  occasion: 

"Orory  to  God  in   the  height  of  His  divinity ! 
Glory  to  God  In  the  depth  of  His  humanity ! 
Glory  to  God  in  His  all-sufficiency  I 
Into  His  hands  I  commend  my  spirit!" 

In  its  original  form  *^\11  hail  the  power  of 
JesUvS'  name"  contained  eight  stanzas.  It 
has  undergone  so  many  changes  that  we  re- 
produce it  here  as  originally  written: 

All  hall  the  power  of  Jesus'  name! 

Let  angels  prostrate  fall ; 
Bring  forth  the  royal  diadem, 

To  crown  Him  Lord  of  all! 

Let  high-born  seraphs  tune  the  lyre, 
And,  as  they  tune  it,  fall 

21 


HYMNS  THAT  ARE  IMMORTAL 

Before  His  face  who  tunes  their  choir, 
And  crown  Him  Lord  of  all ! 

Crown   Him,  ye  morning  stars  of   light. 

Who  fixed  this  floating  ball ; 
Now  hail   the  strength  of  Israel's  might, 

And  crown  Him  Lord  of  all ! 

Crown  Him,  ye  martyrs  of  your  God, 

Who  from  His  altar  call; 
Extol  the  Stem  of  Jesse's  rod, 

And  crown  Him  Lord  of  all  I 

Ye  seed  of  Israel's  chosen  race, 

Ye  ransomed  of  the  fall. 
Hail  Him  who  saves  you  by  His  grace. 

And  crown  Him  Lord  of  all ! 

Hail  Him.  ye  heirs  of  Jacob's  line. 

Whom  David  Lord  did  call. 
The  God  Incarnate,  Man  divine. 

And  crown  Him  Lord  of  all  I 

Sinners,  whose  love  can  ne'er  forget 

The  wormwood  and  the  gall. 
Go,  spread  your  trophies  at  His  feet, 

And  crown  Him  Lord  of  all ! 

Let  every  tribe  and  every  tongue 

That  bound  creation's  call, 
Now  shout  in  universal  song, 

And  crown  Him  Lord  of  all ! 

Tune — "Coronation." 

Most  of  the  alterations  found  in  the  hymn 
»•  we  now  sing  it  are  improvements.    Some 

22 


COROXATION 

of  them,  however,  have  been  the  subjects  of 
uiifavora])le  criticism,  but,  owing  to  their  hav- 
ing been  so  long  accei)ted,  it  seems  likely  that 
the  hymn  in  its  present  form  will  remain  un- 
changed. 

The  last  stanza  of  the  hymn  as  it  now  ap- 
pears in  all  the  hymnals  was  not  written  by 
Mr.  Perronet,  but  bv  some  unknown  hand. 
Colonel  Nicholas  Smith  in  ^'Hvmns  Histori- 
cally  Famous*'  says,  upon  what  authority  we 
do  not  know,  that  it  was  ''written  bv  Dr. 
Rippon,  of  London,  in  1787."  For  more  thaii 
a  century  it  has  constituted  a  part  of  the 
hymn,  and  so  fitting  a  climax  does  it  form 
that  it  appears  to  have  been  inspired  for  the 
purpose. 

An  incident  in  the  experience  of  Rev.  E. 
P.  Scott,  a  missionarv  in  India,  as  related  bv 
Mr.  William  Reynolds,  a  gentleman  of  wide 
reputation  in  Sunday-school  circles,  illus- 
trates the  power  of  this  hymn  and  tune  over 
the  worst  and  most  dangerous  of  heathen 
tribes.  He  had  gone,  against  the  remon- 
strances of  his  friends,  to  take  the  gospel  to 
one  of  the  island  tribes  noted  for  their  savage 
and  murderous  proclivities.  No  sooner  had 
he  arrived  than  he  was  met  bv  a  dozen 
pointed  spears,  and  instant  death  appeared 
inevitable.     While  they  paused  a  moment  he 

23 


HYMNS  THAT  ARE  IMMORTAL 

drew  out  his  violin,  with  which  he  always 
accompaDied  his  sacred  soDgs,  and,  closing 
his  eves,  began  to  play  Coronation  and  sing 
a  translation  of  this  hymn  which  those  about 
him  could  all  understand.  ^^When  he  had 
finished  he  opened  his  eyes  to  witness,  as  he 
thought,  his  own  death  at  the  point  of  their 
spears;  but  to  his  joy  he  found  that  the 
spears  had  fallen  and  his  murderers  were  all 
in  tears.  This  song  had  saved  him  from 
death,  and  opened  an  effectual  door  for  the 
preaching  of  the  gospel  to  the  tribe."  It  is 
said  that  he  remained  with  them  many  years, 
doing  a  great  work  for  them  and  surrounding 
tribes,  and  finally  died  among  them,  beloved 
and  venerated  by  all. 

During  the  year  18G0  one  of  the  greatest 
revivals  of  the  last  century  occurred  in  Ire- 
land. Mr.  White,  a  general  missionary, 
whose  position  and  observation  enabled  him 
to  write  intelligently  regarding  the  great 
work,  in  a  report  of  the  same  originally  pub- 
lished in  the  American  and  Foreign  Christian 
Union  Magazine,  of  Dublin,  in  1860,  and  re- 
published the  same  year  in  the  Earnest 
Christian,  of  Buffalo,  New  York,  gave  the  fol- 
lowing description  of  the  services  of  one  par- 
ticularly memorable  Sabbath : 

"At  our  morning  service,  at  ten  o'clock,  we 

24 


CORONATION 

had  a  down-pour  of  heavenh'  blessings.  The 
congregation  was  very  large,  almost  entirely 
composed  of  those  who  were  happy  in  God. 
How  easy  it  was  to  preach  to  them!  How 
good  was  it  to  be  there!  At  four  o'clock  in 
the  afternoon  we  had  an  open-air  service  in 
the  field,  where  the  former  meeting  was  held. 
Between  four  and  five  thousand  were  there. 
Brother  Wilson  opened  the  meeting  with 
praise  and  prater.  Mr.  Johnson,  Wesleyan 
minister,  read  the  scriptures  and  prayed. 
Then  Mr.  Wilev,  from  Belfast,  a  Presbv- 
terian,  addressed  the  meeting  with  great 
power.  After  this  I  preached  a  short  sermon 
on  the  sufferings  of  Christ  for  sinners  and 
the  service  was  concluded  with  a  short 
prayer-meeting.  It  was  a  very  solemn  time. 
Many  wept  silently;  others  groaned  in  dis- 
tress, one  was  stricken,  and  all  seemed  con- 
scious that  God  was  there. 

"It  was  a  beautiful,  calm  summer  evening. 
It  seemed  as  if  God  had  hushed  the  winds, 
arrested  the  rain  and  curtained  the  sun  with 
clouds,  so  that  we  worshiped  with  great  com- 
fort. It  was  announced  that  our  chapel,  the 
Presbyterian  church,  and  the  Wesleyan 
chapel,  were  to  be  opened  for  prayer-meet- 
ings, when  the  people  retired  from  the  field. 
As  they  moved  down  the  slope  of  the  beauti- 

25 


HYMNS  THAT  ARE  IMMORTAL 

ful  hill  leading  to  the  town,  a  few  friends 
commenced  singing — 

'All  hail  the  power  of  Jesus'  name ! 

Let  an.f?els  prostrate  fall ; 
Bring  forth  the  royal  diadem 

And  crown  Him  Lord  of  all.' 

"The  miititnde  joined  with  much  earnest- 
ness in  singing  this  beautiful  hj^mn ;  and  sel- 
dom did  such  music  float  on  the  evening  air. 
T  have  read  of  the  glorious  march  of  the 
armies  after  a  victory,  as  they  entered  the 
capitol  of  their  country  with  martial  music, 
amidst  the  plaudits  of  the  populace,  and  felt 
the  blood  course  more  quickl}^  through  my 
veins  as  I  read  of  the  glorious  spectacle:  but 
what  is  such  a  pageant  when  compared  with 
such  a  spectacle  as  this — four  thousand  men 
and  women,  from  different  parts  of  the  coun- 
try, of  different  denominations,  manv  of 
whom  had  never  seen  each  other  before,  and 
all  singing — 

'-  *Crown  Him  Lord  of  all!' 


"It  was  doubtless  music  that  angels  bent 
down  from  their  seats  of  glory  to  listen  to.'^ 

It  was  estimated  that  not  less  than  80,000 
«ouls  had  been  converted  to  God  up  to  the 
time  when  Mr.  White's  report  was  written. 

26 


CORONATIOX 

nnd  still  the  good  work  wns  moving  on  with 
nnabated  interest. 

A  pions  man  lay  dying.  Just  before  the 
end  came  he  turned  to  his  daughter,  bent 
lovingly  over  his  bed,  and  said :  "Bring — " 
but  could  go  no  further,  for  the  power  of 
utterance  failed  him.  The  grief-stricken 
daughter  looked  with  earnest  gaze  into  his 
lace  and  said:  "What  shall  I  bring,  my  fa- 
ther?" "Bring — /'  he  gasped,  and  again  his 
voice  failed  him.  His  child  was  now  in  an 
agony  of  desire  to  know  her  dying  father's 
last  request,  and  she  said:  "Dear,  precious 
father,  do  trv  to  tell  me  what  vou  want.  T 
will  do  anvthing  vou  wish  me  to  do.''  The 
dying  man  then  rallied  all  his  strength  and 
murmured : 

"Briug — forth — the  royal — diadeui. 
And  crown  Him  Lord  of  all  \" 

And  with  these  words  he  sank  to  rest  and 
spoke  no  more. 


27 


IV 


medley's    hymn    to    CHRIST    OUR    KING 


One  of  the  sublimest  of  all  hymns  in  cele- 
braiion  of  the  Kingship  of  Jesus  Christ — a 
lyric  worthy  to  be  coupled  with  Perronet's 
*^\11  hail  the  power  of  Jesus'  name" — is  Sam- 
uel Medley's 

"O  conld  I  speak  the  matchless  worth, 
O  could  I  sound  the  glories  forth, 
Which  in  my  Savior  shine!" 

It  first  appeared  in  the  Author's  ''Hymns/' 
in  1789,  with  eight  six-line  stanzas.  The 
original  was  entitled,  ^'Christ  Our  King." 
The  four  stanzas  of  which  it  is  composed  as 
found  in  most  modern  hymnals  are  the  sec- 
ond,  tifth.  sixth  and  eighth  stanzas  of  the 
original. 

The  hymn  was  fully  reprinted  in  the  Lyra 
Britannica,  beginning  with  the  line, 

"Not   of   terrestrial    mortal    themes." 

It  neyer  became  popular  until  Dr,  Lowell 

28 


HYMN  TO  CHRIST  OUR  KING 

Mason,  in  1836,  wedded  it  to  Mozart's  "Ariel," 
so  altered  as  to  adapt  it  to  the  purpose. 
Then,  ''like  Aaron's  rod  that  budded,  the 
splendid  old  song  took  new  life,  and  is  now 
laid  up  in  the  ark  of  our  Christian  hvm- 
nody."  The  text  of  the  hvmn,  as  now  gener- 
ally published,  is  as  follows : 

Oh  could  I  speak  the  matchless  worth, 
Oh  could  I  sound  the  glories  forth, 

Which  in  my  Savior  shine  I 
I'd  soar  and  touch  the  heavenly  strings, 
And  vie  with  Gabriel  while  he  sings 

In  notes  almost  divine. 

I'd  sing  the  precious  blood  he  spilt, 
My  ransom  from  the  dreadful  guilt 

Of  sin  and   wrath  divine : 
I'd   sing  his   glorious   righteousness, 
In  which  all-perfect,  heavenly  dress 

My  soul  shall  ever  shine. 

I'd  sing  the  characters  he  bears. 
And  all  the  forms  of  love  he  wears, 

Exalted  on  His   throne: 
In  loftiest  songs  of  sweetest  praise, 
I   would  through  everlasting  days 

Make  all  His  glories  known. 

Well,  the  delightful  day  will  come, 

When  my  dear  Lord  will   bring  me  home, 

And  I  shall  see  His  face: 
Then  with  my  Savior,  Brother,  Friend. 

29 


HYMNS  THAT  ARE  IMMORTAL 

A  blest  eternity   I'll   spend, 
Triumphant  iu   His  grace. 

Tune— "Ariel.'* 

The  hymn  is  one  of  lofty  sweep  and  senti- 
ment, every  way  suited  to  the  exalted  theme 
of  which  it  treats,  and  admirably  adapted  foy 
use  in  public  worship.  Well  rendered  it  is 
powerful  in  its  effect  upon  the  worshipers,  and, 
judging  from  the  writer's  own  experience,  is 
equally  helpful  as  an  inspiration  for  preach- 
ing. 

Samuel  Medley,  the  author  of  the  hymn, 
was  born  in  Hertfordshire,  England,  in  1738. 
He  was  reared  in  a  godly  home,  and  by  de- 
voted Christian  parents.  Notwithstanding 
this,  he  became  a  reckless  and  wicked  youth, 
joined  the  navy,  and,  in  his  soldier  life,  went 
farther  and  farther  away  from  God.  He  be- 
came a  midshipman  and  is  said  to  have 
fought  bravely  under  some  of  old  William 
Pitt's  stout  admirals.  Being  severely  wound- 
ed in  the  service  in  1759,  he  was  allowed  to 
return  home,  where,  through  the  efforts  of 
his  pious  grandfather,  who  read  to  him  Isaac 
Watts's  sermon  on  Isaiah  42:6,  7,  he  was 
soundly  converted  to  God. 

Following  his  conversion  Medley  aban- 
doned his  sea-faring  life,  taught  school  for 
a  number  of  years,  and  then,  as  Dr.  Cuyler 

30 


HYMN  TO  CHRIST  OUR  KING 

puts  it,  "entered  the  army  of  Christ's  min- 
isters, serving  in  the  Baptist  'corps'  with  re- 
markable zeal  and  success." 

For  many  years  he  served  as  pastor  of  a 
Baptist  church  in  Liverpool,  where  he  at- 
tracted large  numbers  of  seamen  to  his 
chapel.  While  serving  in  this  capacity  he 
wrote  two  hundred  and  thirty  hvmns,  which, 
the  year  after  his  death,  were  published  in  a 
volume  entitled.  "Hymns.  The  Public  Wor- 
ship and  Private  Devotions  of  True  Chris- 
tians Assisted,  in  some  thoughts  in  verse, 
Principally  drawn  from  Select  Passages  in 
the  Word  of  God.  By  Samuel  Medley."  The 
hymn  we  are  considering  quite  appropriately 
stood  first  in  this  published  collection  of  his 
sacred  lyrics. 

Although  a  settled  pastor  Medley  went  out 
at  times  on  missionary  tours,  and  preached 
the  gospel,  as  did  the  early  Methodists,  in 
whatever  places  were  accessible.  On  one  of 
these  tours  he  was  preaching  in  a  barn  from 
the  text,  ^*cast  down,  but  not  destroyed." 
During  the  discourse  the  rude  pulpit  on  which 
he  stood  gave  way,  throwing  him  to  the 
floor.  Unhurt  "he  leaped  to  his  feet  and  hu- 
morously exclaimed:  ''Well,  friends,  you 
see  we  too  are  'cast  down,  but  not  de- 
stroyed.' " 

31 


HYMNS  THAT  ARE  IMMORTAL 

"Like  Perronet,  Samuel  Medley  died 
shouting,"  says  Dr.  Cuyler  in  his  ''Hymns  of 
Honor  to  Christ."  ^'On  his  dying  bed  he 
seemed  to  be  watching  the  points  of  a  com- 
pass, and  ke])t  saying,  'One  point  more;  now 
only  one  ])oint  more.'  Then  he  shouted, 
'How  sweet  will  be  the  port  after  the  storm ! 
Dying  is  sweet  work !  Home,  home,  hallelujah  ! 
Glory  I  Home,  IwmcP  And  so  the  glorious 
old  mariner  passed  in,  with  sails  set,  to  'the 
desired  haven'." 

Then  began  with  Samuel  Medley  the  rea- 
lization of  that  exalted  hope  and  glorious  an- 
ticipation expressed,  when  in  the  last  stanza 
of  the  hymn,  he  wrote : 

"Well,    the   deligktfiil   day   will   come 
When  my  dear  Lord  will   bring  me  home, 

And  I  shall  see  His  face ; 
Then   with    my    Savior,    Brother,    Friend, 
A  blest   eternity   I'll   spend. 

Triumphant  in  His  grace." 

Forgiven  much,  he  loved  much,  and  wrote, 
"O  could  1  speak  the  matchless  worth."  as 
an  expression  of  that  love,  and  in  exaltation 
of  the  Christ  who,  from  the  very  depths  of 
sin  and  ruin,  had  redeemed  and  saved  him. 


32 


BISHOP  ken's  sublime  doxology 

Preeminently  above  all  other  metrical  as- 
criptions of  praise  in  its  popularity  and  in 
its  approach  to  universality  is  Bishop  Ken's 
sublime  Doxology: 

Praise  God  from  whom  all  blessings  flow ; 
Praise   Ilini,    all   creatures   bere   below; 
Praise   Him   above,    ye   beavenly   host ; 
Praise  Father,   Son,  and  Holy  Ghost. 

Tune — "Old  Hundred." 

Originally  forming  the  closing  stanza  of 
the  author's  Morning  Hymn, 

"Awake,  my  sonl,  and  with  the  sun 
Thy   daily   stage  of   duty   run," 

he  derived  so  much  benefit  from  its  use  in 
his  morning  worship  that  he  also  added  it  to 
his  now  equally  popular  Evening  Hymn. 

"Glory  to  Thee,  my  God,  this  night. 
For  all  the  blessings  of  the  light." 

So   greatly   was   the  good   Bishop   in    love 

33 


HYMNS  THAT  ARE  IMMORTAL 

with  his  own  sacred  lyrics  that  he  believed, 
shoiild  he  gain  heaven  and  be  permitted  to 
hear  the  singing  of  his  songs  by  the  saints 
on  earth,  it  would  add  much  to  his  enjoyment 
in  that  celestial  world.  The  thought  was 
thus  expressed : 

"And  phould  the   well-meant   song   I   leave  behind, 
With  Jesns'  lovers  some  acceptance  find, 
'T^^•ill   heighten  e'en   the  joj^s  of   heaven  to  know 
That,  in  my  verse,  saints  sing  God's  praise  below." 

Tf  such  a  privilege  as  that  for  Avhich  he 
hoped  be  granted  to  the  saints  in  heaven, 
then  surely  Bishop  Ken's  joy  must  be  im- 
measurably great,  since  no  other  stanza  ever 
written  is  sung  so  often  and  so  widely  among 
(Christians  of  all  denominations  as  his  grand 
T^oxology. 

Thomas  Ken.  a  Bishop  of  the  Church  of 
Ivlngland,  was  born  at  Little  Berkhampstead, 
in  Berkshire.  England,  in  1657.  After  his 
ordination  he  was  made  Chaplain  to  the 
Princess  of  Orange,  and  later  to  Charles  IT. 
In  1684  he  was  made  Bishop  of  Bath  and 
Wells.  Bv  order  of  James  IT.  he  was  iTniiris- 
oned  in  the  Tower  of  London,  with  six  other 
bishops,  for  his  refusal  to  sign  the  Declara- 
tion of  Indulgence,  their  release  being  se- 
cured   by    popular    feeling,    however,    after 

34 


TUSHOr  KEN'S  DOXOLOGY 

their  trial.  "At  the  Revolution  he  declined 
to  swear  allegiance  to  William  III.,  and  re- 
tired into  private  life,  spending  his  remain- 
inj?  davs  iu  the  maonificent  mansion  of  an 
endeared  friend,  at  Longleat.  Wilts,  where  he 
died  in  March,  1710." 

The  good  Bishop  was  the  author  of  three 
immortal  compositions — his  Morning,  Even- 
ing and  Midnight  Hymns — first  published  in 
1675  at  the  end  of  a  '"Manual  of  Pravers"  for 
the  use  of  boys  in  Winchester  School,  where 
Ken  himself  had  been  educated.  Refer  ring- 
to  these  three  productions  James  Mont- 
gomery said,  as  quoted  by  Stevenson,  "Had 
the  Bishop  endowed  three  hospitals,  he 
might  have  been  less  a  benefactor  to  pos- 
terilv." 

Bishop  Ken  was  a  sweet  singer  as  well  as 
a  skilful  composer,  and  found  great  delight 
in  rendering  the  songs  of  Zion,  especially 
when  called  to  "endure  hardness  as  a  good 
soldier  of  Jesus  Christ."  "It  was  the  habit 
of  this  saintly  sufferer,"  says  Mr.  Stead,  "to 
accojnpany  his  ever  cheerful  voice  with  the 
lute  which  penetrated  beyond  his  prison 
vralls;  and  the  oft-repeated  song  of  praise, 
which  was  soon  taken  up  by  his  religious 
sympathizers  listening  without,  has  gone  on 
singing  itself  into  the  hearts   of   Christians 

35 


HYMNS  THAT  AEE  IMMORTAL 

until    tlie    fragment    has    very    nearly     ap- 
proached the  hymn  universal." 

''Old  hundred,"  the  tune  with  which  this 
magnificent  Doxology  is  almost  invariably  as- 
sociated, was  composed  by  Wilhelm  Franc,  a 
German  musician,  whose  work  in  this  case  is 
thoucrht  bv  some  authorities  to  have  been  re- 
vised  bv  Martin  Luther. 

Bishop  Ken's  Doxology  is  alike  adapted  to 
expressing  the  gratitude  of  living  saints  in 
their  most  enraptured  moments,  and  the  trust, 
comfort  and  hope  of  dying  pilgrims  as  they 
bid  farewell  to  earthly  scenes  and  go  "sweep- 
ing through  tlie  gates"  into  the  golden  City 
of  God.  It  is  sung  with  tremendous  effect 
in  great  assemblies  met  to  celebrate  national 
deliverances  and  v^'ctories. 

It  was  sung  under  decidedly  peculiar  cir- 
cumstances in  New  York  Citv  on  October 
15th,  1884.  A  vast  concourse  of  people 
awaited  till  late  at  night  in  front  of  the  Re- 
publican headquarters  the  returns  from  an 
important  Ohio  election.  It  was  two  o'clock 
in  the  morning  before  the  last  bulletin  ap- 
peared. A  short  time  previous  to  its  appear- 
ance a  multitude  of  voices  were  singing  "We 
won't  go  home  till  morning;"  but  the  mo- 
ment the  last  .message  was  displayed  the 
steropticon    flashed    out    the     line — "Praise 

36 


THOMAS  KEN. 


BISHOP  KEN'S  DOXOLOGY 

God  from  whom  nil  ble»«ings  flow.  Good 
Diglit." — whereupon^  according  to  one  of  the 
newspaper  reports.  '^A  deep- voiced  man  in 
the  throng  pitched  the  Doxology,  and  a 
mighty  volume  of  song  swept  upward,  the 
lights  went  out,  and  the  happy  watchers  de- 
parted to  their  homes." 

The  strains  of  this  sublime  stanza  are  oft- 
repeated  in  evei'T  great  revival  season,  some- 
times, as  in  one  of  Billy  Dawson's  meetings 
where  it  was  repeated  thirty-five  times  in  a 
single  evening,  being  sung  after  every  new 
conversion.  "A  twelve  miles'  walk,  through 
the  midnight  hours,  and  in  the  snow  of  a 
cold  Februarv,"  savs  Mr.  Stevenson  in  rela- 
ting  this  last  occurrence,  "did  not  dissipate 
the  blessedness  of  the  memories  of  that  dav, 
and  they  are  fresh  and  fragrant  on  the  mind 
of  the  writer  after  the  lapse  of  nearly  fifty 
years." 

Hundreds  of  departing  saints  have  also 
uttered  or  attempted  to  utter  its  lofty  strains 
with  their  expiring  breath,  as  expressive  of 
their  iov  in  the  consciousness  of  victorv  over 
the  last  enemy. 

"Glory  be  to  God,  T  am  come  to  the  mount! 
I  am  filled  with  the  glory  of  God  I"  exclaimed 
John  West,  an  English  Methodist  who  had 
joined  the  church  in  times  of  persecution  and 


HYMNS  THAT  ARE  IMMORTAL 

had  been  faithful  in  all  things,  as  he  wai 
about  to  make  passage  to  the  heavenly  home. 
Then  followed  an  effort  to  sing — 

*'l»raise  God  from  whom  all  blessings  flow ! 
Pi'Riso  Him.  all  creatures  bere  below  :*' 

after  which  he  said  to  those  about  him,  "Tell 
the  friends,  Jesus  is  a  precious  Savior," 
closed  his  eyes,  and  went  to  be  "forever  with 
the  Lord/' 

"Lord,  now  lettest  thou  thy  servant  depart 
in  peace,  for  mine  eyes  have  seen  thy  salva- 
tion," exclaimed  Elizabeth  Hudson,  convert- 
ed at  twenty  and  thereafter  made  instru- 
mental in  building  up  two  strong  and  flour- 
ishing ^fethodist  societies,  as  she  found  her 
dav  of  earthly  service  closing.  Shortly  after- 
ward  she  was  taken  with  a  fatal  fever,  and, 
when  apprised  of  the  situation,  was  filled  with 
joy  at  knowing  she  was  so  near  the  "desired 
haven."  To  a  friend  who  asked,  "Are  you 
happy?"  she  replied.  "Oh,  yes;  I  feel  more 
than  I  can  express."  In  the  evening,  waving 
her  hand,  she  exclaimed  : 

"Praise  God  from  whom  air  blessings  flow ; 
Praise   Him,   all   creatures   bere   below : 
Praise    Him    above,    ye   beavenlj    host : 
Praise  Fatber.  Son,  and  Holy  Ghost." 

38 


BISHOP   KEN'S   DOXOLOGY 

Then  declaring,  ''Christ  is  precious,  and  I 
long  to  be  with  Him,''  she  passed  within  the 
vail.  There,  in  accordance  with  her  longing, 
to  "see  the  King  in  His  beauty,"  and  abide 
in  His  palace  forever. 

In  his  book  on  "The  King's  Stewards"  Dr. 
Louis  Albert  Banks  relates  the  following 
storv,  which  also  strikinglv  illustrates  the 
power  of  this  old  Doxology : 

A  man  who  was  for  a  long  time  shut  up 
in  Libby  Prison  savs  that  they  used  to  con- 
sole  themselves  frequently  by  singing  the 
Doxology,  "Praise  God  from  whom  all 
blessings  flow/'  Dav  after  day  they  saw 
comrades  passing  away,  and  their  numbers 
increasing  by  fresh  living  recruits  for  the 
grave.  One  night,  about  ten  o'clock,  through 
the  stillness  and  the  darkness  they  heard  the 
tramp  of  coming  feet  that  soon  stopped  be- 
fore the  prison  door  until  aiTangements 
could  be  made  inside.  In  the  company  was  a 
young  Baptist  minister,  whose  heart  almost 
fainted  as  he  looked  on  those  cold  walls  and 
thought  of  the  suffering  inside.  Tired  and 
weary,  he  sat  down,  put  his  face  in  his  hands 
and  wept.  Just  then  a  lone  voice  of  deep, 
sweet  i^athos  sung  out  from  an  upper  win- 
dow, 

"Praise  God  from   whom   all  blessings  flow," 

39 


HYMNS  THAT  AKE  IMMORTAL 

and  a  dozen  manly  voices  joined  in  the  second 
line, 

"Praise  Him,  all  creatures  here  below ;" 

then  by  the  time  the  third  was  reached  more 
than  a  score  of  hearts  were  full,  and  joined 
to  send  the  words  on  high, 

"Praise  Him  above,  ye  heavenly  host ;" 

by  this  time  the  prison  was  all  alive  and 
seemed  to  quiver  with  the  sacred  song,  as 
from  every  room  and  cell  those  brave  men 
sang — 

"Praise  Father,  Son,  and  Holy  Ghost!" 

As  the  song  died  out  on  the  still  night  that 
enveloped  in  darkness  the  doomed  city  of 
Richmond,  the  young  man  arose  and  happily 
began  himself  to  sing : 

"And  prisons  would  palaces  prove. 

If  Jesus  would  dwell  with  me  there." 


40 


Prayer 


41 


VI 


MONTGOMERY  S    LYRIC    OX    PRAYER 

Nearly  every  hymn-book  we  have  ever  ex- 
amined contains  James  Montgomery's  hymn 
on  the  natnre  of  prayer,  beginning — 

"Prayer  is  the  soul's  sincere  desire, 
Uttered,  or  unexpressed." 

it  was  written  in  1818  at  the  request  of  the 
Rev.  E.  Bickersteth,  for  that  distinguished 
clergyman's  "Treatise  on  Prayer,"  and  was 
published  under  the  title,  "What  is  Prayer?" 
The  first  five  stanzas  are  wholly  didactic, 
or  suited  to  purposes  of  instruction  rather 
than  of  devotion,  and  the  sixth  stanza,  which 
contains  a  fervent  prayer,  is  the  only  one  hav- 
ing the  qualities  of  a  genuine  hymn.  As  the 
jfpirit  of  this  stanza  pervades  those  preced- 
ing it,  however,  and  as  the  first  five  stanzas, 
containing  the  finest  metrical  setting  forth 
of  the  nature  of  true  prayer  ever  written,  pre- 
pare the  way  for  the  more  fervent  breathing 
of  the  sentiment  expressed  in  the  last  stanza, 
the  x>ro(l"<*tion  has  not  only  won  its  way  to 

43 


HYMNS  THAT  ARE  IMMORTAL 

general  recognition  as  a  liymn,  but  also  to 
a  popularity  greater  than  any  other  its  high- 
ly gifted  author  ever  wrote. 

The  following  is  the  full  text  of  the  hymn, 
which  every  Christian,  old  and  young,  should 
thoroughly  know  by  heart : 

Prayer  is  the  sbul's  sincere   desire, 

Uttered,  or  iiiiexpressecl ; 
The  motion  of  a  liidden  fire 

That  trembles  in  the  breast. 

Trayer  is  the  burden  of  a  sigh, 

The  falling  of  a  tear, 
The  upward   glancing  of  an  eye. 

When  none  but  God  is  near. 

Prayer  is  the  simplest  form  of  speech 

That  infant  lips  can  try ; 
Prayer  the  sublimest  strains  that  reach 

The  Majesty  on  high. 

Prayer  is  the  Christian's  vital  breath. 

The  Christian's   native   air ; 
His  watchword  at  the  gates  of  death ; 

He  enters  heaven  with  prayer. 

Prayer  is  the  contrite  sinner's  voice, 

Returning  from  his  ways, 
While  angels  in  their  songs  rejoice, 

And   cry,    "Behold,    he   prays!" 

44 


LYRIC  ON  PRAYER 

O  Thou,  by  whom  we  come  to  God, 

The  Life,  the  Truth,  the  Way ! 
The  path  of  prayer  Thyself  hast  trod : 

Lord,  teach  us  how  to  pray. 

Tune — "Naomi"  or  "Marlow." 

I'lie  author  of  these  remarkable  lines  once 
feaici  he  had  received  directly  and  indirectly 
more  testimonials  to  the  appreciation  of 
them  than  of  any  other  hvmn  he  had  written, 
which  shows  two  things,  namely,  the  almost 
universal  interest  of  men  and  women  in  the 
subject  of  prayer,  and  their  keen  perception 
of  and  profound  satisfaction  in  a  hymn  that 
expresses  the  heart  of  that  subject.  Besides 
having  found  its  way  into  most  hymnals  of 
our  time  it  is  worthy  of  note  that  Dr.  Adam 
Clarke  regarded  this  hymn  as  of  suflScient 
merit  to  occupy  a  place  in  his  great  Com- 
mentary on  the  Holy  Scriptures. 

Nothing  ever  written  on  the  subject  more 
beautifully  sets  forth  the  simplicity  and  dig- 
nity of  a  true  supplicant's  act  of  devotion  as 
he  bends  before  the  mercy-seat  in  prayer  than 
this  noble  Ivric.  None  but  a  man  of  devout 
spirit  and  accustomed  to  communion  with 
his  Maker  at  the  throne  of  grace  could  have 
given  us  such  a  production.  To  the  fact  of 
its  having  been  born  of  experience  in  the  holy 
art  of  supplication  it  chiefly  owes  its  popular- 

45 


HYMNS  THAT  ARE  IMMORTAL 

ity.  As  long  as  human  aspiration  Godward 
seeks  expression  in  prayer  and  supplication 
this  simple  but  glowing  lyric  will  live  and  re- 
tain its  popularity  in  the  hymnody  of  the 
church. 

Ahmtgomery  never  dreamed  when  writing 
this  the  most  popular  of  all  his  hymns  that 
there  was  anything  in  it  prophetic  of  his  own 
death,  jet  the  peculiar  circumstances  of  his 
departure  show  such  to  have  been  the  case. 
One  evening  in  1854,  he  conducted  family 
worship,  as  he  was  wont  to  do,  but  with  un- 
usual fervency  in  his  devotions ;  and  this  was 
the  last  of  his  earthly  services  and  utter- 
ances. He  retired  for  the  night  apparently 
well,  but  was  found  on  the  floor  in  the  morn- 
ing in  an  unconscious  state  from  which  he 
never  ralli3d.  He  lingered  some  hours,  but 
never  spoke  again.  In  a  literal  sense,  and  in 
fulfilment  of  his  own  unconsciously  prophet- 
ic words, 

"He    entered    heaven    with    prayer." 


46 


VII 

THE    MERCY-SEAT 

Another  sacred  poem  which  has  been  great- 
ly blessed  to  the  good  of  individual  souls  for 
many  years,  and  also  to  the  edification  of 
the  church  at  large,  and  which,  because  of 
these  facts,  has  won  for  its  author  world- 
wide and  imperishable  fame  and  affection,  is 
the  Rev.  Hugh  StowelPs  sweet  and  tender 
lyric,  beginning, 

"From  every  stormy  wind  that  blows." 

It  was  originally  contributed  to  a  Euro- 
pean illustrated  annual  known  as  W interns 
Wreath,  in  1827,  from  which  it  was  copied 
into  JJttelVs  Religious  Magazine  (Philadel- 
phia) in  1828.  The  author  republished  it, 
with  some  slight  revisions,  in  his  ''Pleasures 
of  Religion  and  Other  Poems,"  in  1832.  The 
hymn  originally  contained  six  stanzas,  now 
generally  appearing  as  follows : 

From  every  stormy  wind  that  blows, 
From  every  swelling  tide  of  woes, 

47 


PlYMXS  THAT  AKE  IMMORTAL 

There  is  a  calm,  a  sure  retreat ; 
'Tis  found  beneath  the  mercy -seat. 

There  is  a  place  \Yhere  Jesus  sheds 
The  oil  of  gladness  on  our  heads; 
A  place  than  all  besides  more  sweet : 
It   is   the   l^lood-bongbt    mercy-seat. 

There   is   a   scene   where  spirits  blend. 

Where    friend    holds    fellow.'^iip  with    friend:' 

Though   sundered   far.    by   faith  they   meet 
Around  one  connnon  mercy-seat. 

Ah  1   v.hither  could  we   flee  for  aid, 
AVhen    tempted,    desolate,    dismayed; 
Or  how  the  hosts  of  hell  defeat, 
Had  suffering  saints  no  mercy-seat? 

There,   there  on  eagle  wings  we  soar, 
And  sin  and  sense  molest  no  more ; 
And  heaven  comes  down  our  souls  to  greet, 
While   glory   crowns   the   mercy-seat. 

Oh  I  let  my  hand  forget  her  skill, 
:My  tongue  be  silent,  cold  and  still : 
This  throbl)ing  heart  forget  to  beat. 
If  I   forget   the  mercy-seat. 

1' L'XE— "Retreat." 

The  }le\.  Hugh  Stowell,  who  wrote  this 
hTiim,  was  a  clergyman  of  high  repute  in  the 
Church  of  Enghmd.  He  was  born  in  Doug- 
his.  Isle  of  ^lan,  1  December  3rd,  1799.  His  fa- 
ther was  also  a  clergyman,  rector  of  Ballaugh, 

48 


THE  MERCY-SEAT 

near  Ranisev.  The  son  was  educated  at  St. 
Ediiinnd's  Hall,  Oxford,  j^Taduatinji;  in  1822. 
He  took  Holy  Orders  in  1823,  and,  first  as 
curate  in  Yorkshire,  then  as  incumbent  of 
St.  Stephen's  Church,  Salford,  he  drew  such 
throngs  to  hear  his  plain  and  earnest  preach- 
ing that  the  people  were  moved  to  give  liber- 
ally and  cheerfully  for  the  erection  of  an  ele- 
gant  structure  known  as  Christ  Church,  Sal- 
ford;  and  therein  thousands  attended  upon 
Jiis  ministry  with  great  delight  and  profit. 
In  1845  he  was  promoted  to  the  position  of 
Honorary  Canon  of  Chester,  and  later  was 
made  Rural  Dean  of  Salford.  He  was  an 
Evangelical  Churchman,  but  had  no  sympa- 
thy with  High  Church  principles,  and  vigor- 
ously opposed  the  Tractarian  or  High  Church 
movement.  He  finished  his  earthly  course 
October  8th,  1865. 

Canon  Stowell's  death,  according  to  the  ac- 
count of  it  given  bj  the  Rev.  Thomas  Alfred 
Stowell,  his  son,  beautifully  illustrated  the 
sentiment  expressed  in  his  remarkable  and 
popular  hymn.  We  quote  from  Duffield's 
"Ensrlish  Hvmns :" 

^'Mv  father's  last  utterances  abundanth 
showed  his  love  of,  and  delight  in,  prayer. 
Almost  every  word  was  prayer,  couched  for 
the  most  part  in  the  language  of  the  Holy 

49 


HYMNS  THAT  ARE  IMMORTAL 

Scriptures  or  of  the  Book  of  Common  Prayer; 
and  these  utterances  were  characterized  by 
the  deepest  humility  and  most  entire  self -dis- 
trust. 

'^Equally  apparent  was  his  simple  and 
firm  reliance  on  his  Savior.  To  the  question, 
*Is  Jesus  with  you  and  precious  to  you?"  the 
answer  was,  'Yes,  so  that  He  is  all  in  all  to 
me.' 

^'During  his  waking  moments  he  frequently 
exclaimed,  'Very  much  peace,'  and  sometimes, 
'No  fear,'  'Abundance  of  joy,'  'A  very  present 
help  in  time  of  trouble.'  The  morning  of  his 
death  the  only  articulate  words  that  we 
could  catch,  uttered  two  or  three  hours  before 
his  decease,  were  'Amen!  Amen!' 

'His  watchword  at  the  gates  of  death, 
He  enters   heaven  with   prayer.'  '* 

Around  the  world  he  had  taught,  in  the 
gtanzas  of  his  l>eautiful  hymn,  the  preciousness 
of  the  mercy-seat  as  the  meeting-place  of  God 
with  man,  and  there  it  was  that,  not  only  in 
his  life  but  even  m,ore  abundantly  in  his 
death, 

"Heaven  came  down  his  soul  to  greet, 
While  glory   crowned   the  mercy-seat" 


50 


vni 

WRESTLING   JACOB 

Unique  and  matchless  among  all  sacred 
poetry  having  importunity  in  prayer  as  its 
theme  is  Charles  Wesley's  lyrical  drama, 
based  on  the  story  of  Jacob  wrestling  with 
the  angel,  and  beginning, 

"Come,  O  Thou  Traveler  unknown, 
Whom  still  I  hold,  but  cannot  see." 

Its  illustrious  author,  whom  many  regard 
as  the  foi^most  hymn-writer  of  the  ages,  was 
borti  in  the  Epworth  rectory,  England,  of 
which  his  father,  the  Rev.  Samuel  Wesley, 
w^as  incumbent,  in  1707.  Susanna  Wesley, 
his  motlier,  was  one  of  the  most  intelligent 
and  devoted  of  Christian  women,  and  to  the 
training  she  gave  her  sons  the  world  will  ever 
be  largely  indebted,  since  no  other  single 
factor  figured  more  largely  in  the  making  of 
those  remarkable  men. 

Charles  "V^'esley  took  his  degree  from  Ox- 
ford in  1728,  where  his  brother  John,  himself 
and  a  few  others,  for  their  devoted  manner  of 

51 


HYMNS  THAT  ARE  IMMORTAL 

life,  were  first  nicknamed  ^Tlie  Holy  Club," 
and  later,  because  of  their  methodical  divis- 
ion and  use  of  their  time  were  contempt- 
uously called  '^Methodists."  Tn  1735  he  re- 
ceived Holy  Orders  from  the  Church  of  Eng- 
land, and  immediately  sailed  with  his  brother 
John  for  Georgia,  as  a  missionar}-.  He  soon 
returned,  however,  encountering  a  most  ter- 
rific storm  on  the  passage,  from  which  the 
ship's  company  escaped  almost  as  by  miricle. 
Not  until  later  (1738)  did  he  experience  that 
change  of  heart  which  made  him  ever  after- 
ward a  flame  of  fire  for  the  spread  of  evan- 
gelical holiness.  With  this  new  experience 
also  began  that  career  of  hymn-writing  which 
made  him  the  chief  singer  of  Methodism. 
He  cooperated  with  his  brother  John  in  his 
great  work  of  reformation  to  the  close  of  his 
long  life,  and  died  in  peace  in  1788. 

The  hymn  on  "Wrestling  Jacob"  first  ap- 
peared in  ''Hymns  and  Sacred  Poems,"  in 
1742,  and  contained  fourteen  six-line  stanzas. 
The  break  in  its  uniformity  by  dividing  it 
into  several  briefer  hymns  was  made  by  the 
editors  of  the  171)7  edition.  To  divide  it  thus 
was  to  mar  it,  since  its  full  beauty  and  force 
can  neither  be  perceived  nor  appreciated  ex- 
cept by  considering  it  as  an  undivided  whole. 
Its  length,  however,  seems  to  have  made  divis- 

52 


CHAELES  WESLEY. 


WRESTLING  JACOB 

ion  necessary  in  order  better  to  adapt  it  to 
use  in  tbe  cluircli  hymnals.  When  printed  in 
two  or  three  successive  hymns,  as  is  quite 
coniDionly  done,  the  connection  and  unity  can 
be  readily  discerned,  and  still,  to  read  or  sing 
the  hymn  in  part  only  is  to  miss  much  of  its 
beauty  and  worth. 

The  scriptural  narrative  on  which  the 
hymn  is  based  is  recorded  in  Genesis  32 :  24- 
3i,  and  must  be  known  in  order  that  tlio 
h^'nm  may  be  understood  and  appreciated. 
The  hymn  is  now  seldom  if  ever  printed  in 
full  in  the  church  hymnals,  two  of  its  origi- 
nal stanzas  being  omitted  wherever  we  have 
found  it.  Restored  to  its  original  complete- 
ness and  order,  it  reads  as  follows: 

Come,  O  Tbou  Traveler  unkiiowu. 

Whom  still  I  hold,  but  cannot  see; 
My  company  before  is  gone, 

And  I  am  left  alone  with  Thee : 
With  Thee   all   night    I    mean   to   stay, 
And  wrestle  till  the  break  of  day. 

I  need  not  tell  Thee  who  I  am : 

^fy  sin  and  misery  declare ; 
Thyself  hast  called  me  by  my  name. 

Look  on  Thy  hands  and  read  it  there ; 
But  who,  1  ask  Thee,  who  art  ThouV 
Tel]   me  Thy   name,   and  tell   me  now. 

In  vain  Thou  strugglest  to  get  free; 
I  never  will   unloose  my   hold 

53 


f 


HYMNS  THAT  ARE  IMMORTAL 

Art  Thou  the  Man  that  died  for  me? 

The  secret  of  Thy  love  unfold; 
Wrestling,  I  will  not  let  Thee  go, 
Till  I  Thy  name.  Thy  nature  know. 

Wilt  Thou  not  yet  to  me  reveal 

Thy    new,    unutterable   name? 
Tell  me,  I  still  beseech  Thee,  tell; 

To  know  it  now,  resolved  I   am : 
Wrestling,  I  will  not  let  Thee  go, 
Till  I  Thy  name,  Thy  nature  know. 

'Tis  all  in  vain  to  hold  Thy  tongue, 
Or   touch  the   hollow  of  my   thigh : 

Though  every  sinew  be  unstrung, 

Out  of   my  arms  Thou  shalt   not  fly; 

Wrestling,    I    will   not    let    Thee   go. 

Till  I  Thy  name.  Thy  nature  know. 

What  though  my  shrinking  flesh  complain, 
And  murmur  to  contend  so  long? 

I  rise  superior  to  my  pain : 

When  I  am  weak,  then  am  I  strong! 

And  when  my  all  of  strength  shall  fail, 

I  shall  with  the  God-man  prevail. 

Yield  to  me  now,  for  I  am  weak, 

But   confident   in   self-despair ; 
Speak  to  my   heart,   in   blessing  speak ; 

Be  conquered  by  my  instant  prayer : 
Speak,  or  Thou  never  hence  shalt  move, 
And  tell  me  if  Thy  name  be  Love. 

'Tis  Love !  'tis  Love !  Thou  diedst  for  me ; 
I  hear  Thy  whisper  in   my  heart; 

54 


WRESTLING  JACOB 

The  moriiing  breaks,  the  shadows  flee; 

Pure,  universal  Love  Thou  art: 
To  me,  to  all  Thy  bowels  move, 
Thy  nature  and  Thy  name  is  Love. 

My  prayer  hath  power  with  God;  the  grace 

Unspeakable   I    now   receive ; 
Through  faith  I  see  Thee  face  to  face ; 

1  see  Thee  face  to  face  and  live ! 
In  vain  I  have  not  wept  and  strove; 
Thy  nature   and  Thy  name   is  Love. 

I  know  Thee,  Savior,  who  Thou  art, 
Jesus,  the   feeble  sinner's   Friend : 

Nor   wilt    Thou    with    the   night   depart. 
But  stay  and  love  me  to  the  end : 

Thy   mercies  never  shall    remove ; 

Thy   nature   and  Thy   name   is   Love, 

The   Sun  of   Righteousness  on  me 

Ilath  risen,  with  healing  in  his  wings; 

Withered  my  nature's  strength,  from  Thee 
My  soul  its  life  and  succor  brings ; 

My  help  is  all  laid  up  above: 

Thy  nature  and  Thy  name   is  Love. 

Contented  now,  upon  my  thigh 

I  halt,  till  life's  short  journey  end : 

All    helplessness,    all    weakness,    I 
On  Thee  alone  for  strength  depend : 

Nor  have  I  power  from  Thee  to  move; 

Thy   nature   and   Thy  name   is   Love. 

Lame  as  I  am,  I  take  the  prey ; 
Hell,  earth,  and  sin,  with  ease  o'ercome; 

55 


HYMNS  THAT  ARE  IMMORTAL 

I  leap  for  joy,  pnrsne  my  way, 

And,  as  a  boimding  hart,  fly  home : 
Through  all  eternity  to  prove 
Thy  nature  and  Thy  name  is  Love. 

Tune — "Rockaway." 

ComiTienda^ions  of  this   remarkable  liviiin 

t. 

from  the  pens  of  able  critics  are  numerous 
and  forcibly  expressed.  A  few-  of  them  will 
snfifice  to  show  the  esteem  in  which  it  has 
ever  been  held. 

In  the  obituary  of  ('harles  Wesley,  pub- 
lished in  the  conference  minutes,  John  Wes- 
ley says:  ^'Ris  least  praise  was  his  talent  for 
poetry;  although  Dr.  Watts  did  not  scruple  to 
say,  that  the  single  poem,  'Wrestling  Jacob,' 
was  worth  all  the  verses  he  himself  had  writ- 
ten.'^ 

James  Montgomery  regarded  the  produce 
tion  as  "among  Charles  Wesley's  highest 
achievements/'  ''in  which,  with  consumm'ate 
art,  he  has  carried  on  the  action  of  a  lyrical 
drama :  every  turn  in  the  conflict  with  the 
mA'sterious  Being  against  whom  he  wrestles 
all  night  being  marked  with  precision  by  the 
various  language  of  the  speaker,  accompanied 
by  intense,  increasing  interest,  till  the  raptur- 
ous moment  of  discovery,  when  he  prevails, 
and  exclaims,  'I  know  Thee,  Savior,  who 
Thou  art.' " 

56 


WRESTLING  JACOB 

Mr.  Stevonson  quotes  the  Rev.  -John  Kirk 
as  writing'  of  ''its  wonderful  conciseness,  3'et 
perfect  and  finished  picturing  of  the  scene 
on  the  Transjordanic  hills,  beyond  the  deep 
defile  where  the  Jabbok,  as  its  name  implies, 
wres.tles  with  the  mountains  through  which 
it  dipscends  to  the  Jordan.  The  dramatic 
form,  so  singular  in  hvmnic  composition, 
shadowing  forth  the  action  of  the  conversa- 
tion ;  the  great  force  of  its  thoroughly  Eng- 
lish expression:  its  straightforward  ease, 
without  any  mere  straining  at  elegance;  and 
the  minuteness  and  beauty  of  its  general  ap- 
plication of  the  narrative,  have  won  the  com- 
mendation of  all  competent  critics.'- 

The  late  Hugh  Price  Hughes  regarded 
"Wrestling  Jacob''  as  one  of  Charles  Wes- 
le^^'s  greatest  hymns,  and  Dean  Stanley  is 
said  to  have  quoted  it  with  remarkable  effect 
at  the  unveilin<Tj  of  the  Weslev  memorial  in 
Westminster  Abbey. 

The  narrative  suggesting  the  hymn  was  not 
only  a  source  of  poetic  but  also  01  homiletic 
inspiration  to  Charles  Wesley.  It  was  one  of 
his  favorite  pulpit  themes.  He  preached 
from  it  before  the  hymn  was  published,  as 
.appears  from  his  Journal,  and  records  at  least 
six  times  \\'hen  he  preached  from  it  after  the 
hymn  appeared,  describing  the  remarkable  ef- 

S7 


HYMNS  THAT  ARE  IMMORTAL 

fects  in  some  of  the  instances.  These  in- 
stances of  preaching  from  the  passage  are 
all  cited  by  Mr.  Stevenson,  in  his  ^'Methodist 
Hymn  Book  Illustrated/'  who  also  adds: 
"To  have  heard  the  poet's  sermon  on  this 
mighty  wrestling,  with  all  the  play  of  fine 
fancy  arranging  the  eminently  evangelical 
topics  in  glowing  colors  before  a  crowded  as- 
sembly, and  then  to  have  closed  that  dis- 
course with  the  singing  of  that  grand  hymn, 
m,ust  have  been  a  privilege  of  surpassing  in- 
terest and  delight." 

The  historical  associations  of  the  hymn  are 
numerous  and  thrilling.  It  was  one  of  John 
Wesley's  special  favorites,  and  its  use  by  him 
i«,  short  time  after  his  brother's  death,  as  re- 
lated bv  Tverman  in  his  "Life  and  Times  of 
Wesley,"  is  peculiarly  pathetic.  "Wesley  had 
no  disposition  to  tell  the  deep  sorrows  of  his 
heart,"  savs  Mr.  T^erman;  "but  that  he 
severely  felt  the  departure  of  his  brother, 
there  can  be  no  question.  A  fortnight  after- 
wards^ when  at  Bolton,  he  attempted  to  give 
out,  as  his  second  hymn,  the  one  beginning 
with  the  words,  ^Come,  O  Thou  Traveler  un- 
known,' but  when  he  came  to  the  lines, — 

'My  company  before  is  gone, 

And  I  am  left  alone  with  Thee/ 

the  bereaved  old  man  sunk  beneath  emotion 

58 


WRESTLING  JACOB 

which  was  uncontrollable,  burst  into  a  flood 
of  tears,  sat  down  in  the  pulpit,  and  hid  his 
face  with  his  hands.  The  crowded  congrega 
tion  well  knew  the  cause  of  his  speechless  ex- 
citement; singing  ceased;  and  the  chapel  be- 
came a  Bochim.  At  length,  ^yesley  recovered 
himself,  rose  again,  and  went  through  a  ser- 
vice which  was  never  forgotten  by  those  who 
were  present." 

This  hymn,  sung  with  seekers  in  revival 
services,  has  been  remarkably  blessed  in  help- 
ing struggling  souls  out  of  darkness  into 
the  marvelous  light  of  God,  and  in  leading 
true  believers  into  full  redemption.  On  many 
such  occasions  w^e  have  witnessed  scenes  that 
thrilled  and  awed  all  present,  and  must 
have  occasioned  great  demonstrations  of  joy 
in  heaven.  One  verse  of  it  sung  in  the  Spirit 
at  such  a  time  is  worth  a  score  of  the  shallow 
ditties  too  commonly  characteristic  of  mod- 
ern revivalism. 

Not  only  in  life  but  also  in  the  ti\ving  ex- 
perience of  a  dying  hour  has  "Wrestling 
Jacob-'  often  proved  a  comforting,  inspiring 
and  helpful  liyjnn,  as  the  following  instances, 
the  first  two  condensed  from  Mr.  Stevenson's 
narration  will  show : 

It  is  recorded  of  Solomon  Burrall,  of 
Tuckingmill.    England,     who    for     forty-five 

59 


HY.MNS  THAT  ARE  IMMORTAL 

years  '^^'as  a  member  of  the  Methodist  Soci- 
ety, and  a  useful  worker  in  the  Lord's  vineyard, 
living  in  the  uninteiTupted  enjoyment  of  the 
perfect  love  of  God,''  that  the  evening  before 
he  passed  within  the  vail  he  summoned  all 
his  strength  and  sang  the  lines, — 

"Come,  O  Tbou  Traveler  unknown, 
Wliom  still  I  bold,  but  cannot  see! 
My  company  before  is  gone, 

And  I  am   left  alone  Avitb  Thee: 
With  Tbee  all  nlgbt   I   mean  to  stay, 
And  wrestle  till  tbe  break  of  day." 

After  this  he  spoke  no  more,  except  to  de- 
clare his  strong  confidence  in  God,  but  soon 
passed  to  join  the  song  of  the  redeemed  in 
heaven. 

The  Rev.  Edward  Hare,  an  able  and  useful 
English  Methodist  preacher,  amid  great  physi- 
cal sufferings  through  which  he  passed  short- 
ly before  his  death,  called  for  the  reading  of 
''Wrestling  Jacob,"  and  directed  particular 
attention  to  the  following  stanza: 

.    "What  tbougli  my  shrinking  flesh  complain, 
And  murmur  to  contend  so  long? 
T  rise  superior  to  my  pain : 

When  I  am  weak,  then  am  I  strong ; 
And  when  my  all  of  strength  shall  fail, 
1  shall  with  the  God-man  prevail." 

60 


WRESTLING  JACOB 

He  then  gave  his  djing  testimony,  and  short- 
ly after  entered  into  rest. 

^Irs.  Dora  Burdick,  of  Central  New  York, 
was  awakened  and  thoroughlj^  converted  un- 
der the  labors  of  President  Finnev  some  time 
dnring  the  fifties,  and  later,  in  a  Methodist 
cluiroh  of  S.yracnse  was  led  into  '"the  fulness 
of  the  blessing  of  the  gospel  of  Christ."  She 
was  a  deeph'  spiritual  woman,  who  spent 
much  time  alone  with  God  in  prayer.  Her 
life  is  said  to  have  been  remarkable  for  the 
spirit  and  power  she  had  in  coming  to  the 
tlirone  of  grace.  Tt  seemed  at  times  that 
three  worlds  were  being  moved  as  she 
wrestled  with  God,  Jacob-like.  She  knew 
that  God  heard  prayer,  and  her  language 
was, 

"In    vain   Thou   struggles!    to    get   free, 
I      I  ncrcr  \A'ill  unloose  my  hold ; 
Art  Thou  the  Man  that  died  for  me? 

The  secret  of  Thy  love  unfold ; 
Wrestling,  I  Avill  not  let  Thee  go, 
Till   I  Thy  name,  Thy  nature  know." 

At  length  her  health  failed,  and  the  time 
of  her  departure  was  at  hand.  Her  theme  re- 
mained the  same,  however,  and,  if  there  was 
no  one  present  in  her  sick  room  who  could 
sing  ''AVrestling  Jacob,"  she  would  often  ask 

6i 


HYMNS  THAT  ARE  IMMORTAL 

to  hear  the  hymn  read.  It  was  like  "angels' 
food''  to  her  hungry  soul,  and  braced, 
strengthened  and  comforted  her  many  a  time 
as  she  passed  through  the  valley  of  the  death- 
shade.  In  faith  and  x>i*ayer  she  wrestled  on 
amid  her  suffering  until,  "more  than  con- 
queror" over  "the  last  enemy,"  she  received 
an  abundant  entrance  into  the  everlasting 
kingdom  of  her  Redeemer. 


62 


IX 

JOHN   KEBLE's    evening    HYMN 

No  English  hymn  ever  written  is  better  en- 
titled to  a  place  in  classic  hyranody  than 
John  Keble's 

"Sun   of  my  soul.   Thou   Savior  dear." 

Nothing  equal  to  it  has  ever  been  written  ai 
an  evening  hynm.  It  combines  the  rarest 
beauty,  sweetness,  tenderness,  love,  trust  and 
devotion  with  deepest  spirituality  and  most 
fervent  breathing  after  God.  Its  sentiment 
and  spirit  are  all  that  could  be  desired,  and 
in  true  poetic  excellence  it  is  unsurpassed. 

^'The  Christian  Year,"  of  which  it  forms  a 
part,  ^'has  gone  through  one  hundred  edi- 
tions," ^^the  last  of  which  placed  the  bulk  of 
it  before  one  hundred  thousand  readers;"  but 
''this  hymn  is  known,  not  to  thousands,  but 
to  millions,  and  the  music  of  its  verse  is 
familiar  in  every  nook  and  corner  of  the  Eng- 
lish-speaking world." 

It  is  a  significant  circumstance  that  the 
author  of  this  universally  popular  lyric  wTote 

63 


HYMXw^  THAT  ARE  I:MM0RTAL 

it  with  no  intention  of  its  becomino-  a  hvmn. 
"The  (,1iristian  Year,"  in  which  it  originally 
appeared,  was  a  collection  of  "Thoughts  in 
Verse  for  the  Sundays  and  Holidays  Through- 
out the  Year."  The  title-page  bore  the  motto, 
''In  quietness  and  confidence  shall  be  your 
strength."  It  was  first  published  at  Oxford, 
England,  in  1827,  in  two  thin  16mo  volumes. 
It  was  put  forth  anonymously  at  first,  the 
secret  of  its  authorship  being  shared  by  a 
number  of  the  poet's  friends  to  whom  he  had 
submitted  the  manuscript,  and  from  whom, 
little  by  little,  it  leaked  out.  The  work,  like 
Gray's  elegy,  was  the  product  of  long  and 
painstaking  labor,  which  was  amply  re- 
warded, however,  by  the  remarkable  popu- 
larity it  won,  the  ninety-sixth  edition  having 
been  revised  by  Keble's  own  hand,  and,  as  al- 
I'eady  suggested,  the  hundreth  edition  having 
since  been  given  to  the  public. 

The  hymn  as  it  appears  in  the  various 
hymnals  is  composed  of  the  third,  seventh, 
eighth  and  last  three  stanzas  of  the  original 
poem,  which  contains  fourteen  stanzas.  To 
wbom  belongs  the  honor  of  having  discov- 
ered the  elements  of  so  remarkable  a  hymn 
imbedded  in  the  poem  from  which  they  were 
extracted  is  a  problem  not  yet  solved  with 
absolute  certainty.     According  to  Dr.   Ben- 

64 


KEBLE'S  EVENING  HYMN 

sou  tlie  Rev.  Heni'v  ^^nn  Elliott,  brother  of 
(.'Jiarlotte  Elliott,  put  a  selectiou  of  four 
stanzas  from  Keble's  poem  into  his  "Psalms 
and  Hymns,"  beg:inning'  with  "8un  of  my 
soul,"  etc.- and  "'Other  editors  followed  his  ex- 
am])le,  some  of  them  using  additional  verses. 
This  is  the  earliest  appearance  of  the  hymn, 
in  anything  like  its  present  form,  yet  dis- 
covered ;  and,  unless  some  instance  of  its 
earlier  ])ub]ication  shall  come  to  light.  Mr. 
Elliott  will  be  credited  with  the  original  dis- 
coverv  of  the  hvmn  ns  imbedded  in  the  larger 
poetical  production  from  Avhich  its  various 
stanzas  were  collected"  '"Studies  of  familiar 
Hymns"). 

As  geueiallv  i)ublished  in  the  hvmnals  of 
the  present  time  the  hymn  appears  in  six 
stanzas,  as  follows: 

Sun    of    my    soul,    Thou    Savior   dear. 

It  is  not  night  if  Thou  be  near : 

O  njay   no  earth-born   cloud   arise 

To    hide    Thee    from    Thy    servant's    eyes ! 

When    tlie   soft  dews  of  kindly   sleep 
My  wearied  eyelids  gently   steep, 
He  my  last  thouj^ht,  how  sweet  to  rest 
Forever  on  my  Savior's  breast  1 

Abide  with  me  from  morn  till  eve. 
For  without  Thee   I   cannot   live; 

6q 


HYMNS  THAT  ARE  IMMORTAL 

Abide  with  me  when  night  is  nigh, 
For  without  Thee   I    dare  not   die. 

If  «ouje  poor  wnnd'ring  child  of  Thine 
Have  spurned,  to-day,  the  voice  divine. 
Now,    Lord,   the   gracious   work  begin ; 
Let  him  no  more  lie  down  in  sin. 

Watch  by  the  sick ;  enrich  the  poor 
With  blessings  from  Thy  bounteous  store ; 
Be  every  mourner's  sleep  to-night. 
Like  infant  slumbers,  pure  and  light. 

Come  near  and  bless  us  when  we  wake, 
Ere  through  the  world  our  way  we  take ; 
Till  in  the  ocean  of  Thy  love, 
We  lose  ourselves  in  heaven  above. 

Tune — "Hursley." 

Two  other  stanzas  are  included  in  the 
hymn  as  sometimes  published,  constituting 
respectively,  when  included,  stanzas  one  and 
five.  We  reproduce  them  herewith*  as  follows^ 
and  leave  the  reader  to  judge  for  himself  as 
to  whether  their  exclusion  improves  or  les- 
sens the  beautv  and  worth  of  the  hvmn : 

Wiien  with  dear  friends  sweet  talk  I  hold, 
And  all  the  flowers  of  life  unfold, 
,     Lot  not  my  heart  within  me  burn, 
Exeei^t  in  all  I  Thee  discern. 

Thou  Framer  of  the  light  and  dark. 
Steer  through  tlie  tempest  Thine  own  arl: : 

66 


KEBLE'S  EVENING  HYMN 

Amid  the  howling  wintry  sea. 
We  are  in  ix)rt  if  we  have  Thee. 

John  Keble,  the  distinguished  author  of 
"The  Christian  Year,"  was  born  at  Fairford, 
England,  in  1792,  his  father  being  an  honored 
clergyman  of  the  Established  Church.  He 
was  educated  at  Oxford,  graduating  in  1810, 
with  double  first  class  honors.  He  was  ad- 
mitted to  Orders  in  the  Established  Church 
in  1816.  Twelve  years  later  appeared  his 
"Christian  Year,"  embodying  in  its  various 
poems  for  the  Sundavs  and  holidavs  of  the 
year  a  number  of  what  are  now  regarded  as 
among  the  choicest  hymns  of  the  Church, 
"Sun  of  my  soul"  being  chief  est  of  them  all. 
In  1831  he  was  elected  professor  of  poetry  at 
Oxford,  which  position  he  occupied  for  ten 
years.  In  1833  he  preached  his  fam,ous 
Assize  Sermon  at  Oxford,  on  "National 
Apostasy,"  which  Cardinal  Newman,  then 
within  the  English  Church,  subsequently  de- 
clared gave  rise  to  the  High  Church  or  Ox- 
ford Movement — a  Movement  which  "trans- 
formed the  Church  of  England,"  and  of  which 
"Keble,  Newman  .and  Dr.  Pusey  were  the 
leading  spirits." 

The  Oxford  or  "Tractarian  Movement" 
final Iv  landed  Newman  in  the  Roman  Catho- 
lie  Church,  where  his  distinguished  ability  and 

67 


hy:mxs  that  are  immortal 

his  devotion  to  the  Church  at  last  secured 
liim  a  place  in  the  College  of  Cardinals. 
Keble,  who  remained  a  firm  adherent  of  the 
Church  of  England,  grieved  greatly  over  New- 
man's secession.  His  attitude  of  attachment 
to  Anglican  traditions  was  expressed  in  his 
publication  of  ''The  Christian  Year,"  which 
also  had  the  effect  of  confirming  thousands 
of  others  in  a  similar  attitude.  He  was  a 
prolific  writer  of  both  prose  and  poetry  for 
many  years,  and  the  various  productions  of 
his  pen  did  much  to  influence  and  mold  the 
national  afi'airs  of  his  time. 

After  the  death  of  his  father  in  1835  Keble 
married  and  became  Vicar  of  Hursley,  where, 
for  the  rest  of  his  days  he  remained,  content- 
edly "leading  the  life  of  a  retired  scholar 
and  faithful  country  pastor."  His  church 
was  always  open  for  morning  and  evening 
prayers.  ''Night  and  day  he  was  unwearied 
in  his  ministrations  to  the  sick,  the  poor, 
the  afflicted.  On  many  a  dark  evening  he  was 
seen,  lantern  in  hand,  wending  his  way  to 
some  distant  cottage,  with  Avords  of  cheer. 
Though  a  m,an  of  fine  Scholarly  tastes  and 
culture,  he  was  so  meek  and  unassuming, 
that  the  poor  looked  up  to  him  as  their  best 
friend." 

His  death  occurred    at    Bournemouth,    in 

68 


KEBLE'S  EVENING  HYMN 

« 

March,  186G.  His  wife  survived  him  but  six 
weeks,  and  both  are  buried,  side  by  side,  in 
Hui'slev  church-vard.  Imiuediatelv  followiuij 
his  death  a  movement  was  originated  to  pro- 
vide for  him  a  suitable  monument,  which  fi- 
nallv  resulted  in  the  foundins:  of  Keble  Col- 
lege,  Oxford,  in  1870,  "by  subscription  in 
memory  of  the  Kev.  John  Keble.  Vicar  of 
Hurslev,  sometime  fellow  and  tutor  of  Oriel 
College,  professor  of  poetry  in  the  University, 
and  author  of  *The  Christian  Year.' '' 

As  sung  to  the  tune  "Hursley,"  Keble's 
'*Sun  of  mv  soul"  is  a  favorite  hvmn  in  most 
Christian  congregations  of  the  English-speak- 
ing world.  Its  tender  melody,  its  pleasing 
rhythm,  its  soft  and  mellow  strains,  together 
with  the  fervor  and  confidence  of  its  breath- 
ing after  God,  adapt  it  to  inspiring  the  faith, 
calming  the  agitations,  assuaging  the  griefs 
and  quickening  and  brightening  the  hopes  of 
believers  amid  all  the  changeful  vicissitudes 
of  their  earthly  pilgrimage.  As  illustrative  of 
its  value  in  the  foregoing  directions,  and  also 
as  a  fitting  conclusion  to  our  consideration  of 
its  origin,  character  and  history,  we  subjoin 
the  following  pathetic  narrative,  as  related 
by  the  Kev.  Dr.  Tillett  in  "Our  Hymns  and 
Their  Authors:'' 

"A  vounji  ladv  of  lovelv  Christian  charac- 


'o 


69 


HYMNS  THAT  ARE  IMMORTAL 

ler  lay  seriously  ill  iu  her  chamber.  Her 
mother  and  loved  ones  were  about  her.  The 
loom  seemed  to  her  to  be  growing  dark.  She 
asked  them  to  raise  the  curtains  and  let  in 
the  light.  But,  alas,  the  curtains  were  al- 
leady  raised,  and  it  was  broad-open  daylight. 
It  was  the  night  of  death  that  had  come, 
and  she  knew  it  not.  As  she  kept  asking  them 
to  let  in  the  light  they  had  to  tell  her  the 
nature  of  the  darkness  that  was  gathering 
about  her.  But  she  was  not  dismayed.  With 
a  sweet,  quiet,  plaintive  voice  she  began  sing- 
ing her  favorite  hvmn : 

*Suii  of  my  vsoul,  Tbou  Savior  dear, 
It  is  not  night  if  Thou  be  near: 
O  let  no  earth-born  cloud  arise 
To  hide  Thee  from  Thy  servant's  eyes.' 

'•The  eves  of  all  in  the  room  suffused  with 
tears  as  the  sweet  singer's  tremulous  voice 
continued : 

'When   the   soft   dews   of    kindly    sleep 
My  wearied  eyelids  gently  steep, 
Be  my  last  thought,  how  sweet  to  rest 
For  e^'er  on  my  Savior's  breast !' 

"She  had  often  sung  this  hymn  to  the  de- 
light of  the  home-circle,  but  now  it  seemed 
like  the  song  of  the  dying  swan,  the  sweetest 

70 


KEP,LF/8  EVENING  HYMN 

she  had  ever  sung.  Her  countenance  lighted 
up  witli  a  beauty  and  a  radiance  that  came 
not  from  earth  as  she  sang  once  more  in 
feebler  but  more  heavenly  sti-ains : 

*Al»ide    with    me    from    morn    till    eve, 
For  without  Thee  I  cannot  live : 
Abide  with  me  when  night  is  nigh, 
For  without  Thee  I  dare  not  die.' 

And  with  these  fitting  words  the  sweet  voice 
was  hushed  in  death  which  ceased  not  to 
sing, 

'Till,  in  the  ocean  of  God's  love, 
She  lost  herself  in  heaven  above.' " 


•^I 


A 

A  woman's  hymx  on  twilight  devotion 

From  tiDie  immemorial  the  fields  aud 
groves  have  been  favorite  resorts  aud  twi- 
light has  been  a  favorite  season  with  godly 
men  and  women  for  private  meditation  and 
l>rayer.  There  is  much  in  both  season  and 
surroundings  favorable  to  concentration  up- 
on the  object  in  view,  and  adapted  to  lifting 
the  soul  to  loftiest  contemplations  of  and 
most  enrapturing  communion  with  the  Majes- 
ty on  High. 

One  of  the  finest  and  most  popular  little 
poems  expressive  of  delight  in  twilight  de- 
votion— a  lyric  which,  though  not  intended 
as  a  hvmn,  has  won  its  wav  into  many  of  the 
church  liymnals  through  first  having  won  its 
way  into  the  hearts  of  praying  men  and 
women — is  one  beginning,  as  usually  printed, 

"I    love    to    steal    awLile    away 
Frojii  every  cumberiug  care." 

Mrs.  Phoebe  H.  Brown,  its  author,  was 
born   in   Canaan,    New   York,    in    1783,    and 

72 


TWILIGHT  DEVOTION 

died  in  Henrv.  Illinois,  in  1861.  She  was 
;i  devout  Christian  mother,  in  humble  cir- 
cumstances, burdened  with  many  a  "cumber- 
ing care,''  and  daily,  toward  nightfall,  was 
accustomed  to  retire  to  a  solitary  place  a 
little  distant  from  her  home  for  meditation 
and  secret  prayer.  Observed  in  this  daily  re- 
tirement bv  a  wealthv  neighbor  who  severelv 
criticised  her.  and  even  impugned  her  mo- 
tives, she  was  deeply  wounded,  and,  to  relieve 
lier  burdened  heart,  went  to  her  home  and 
wrote  the  following:- 

AX   APOLOGY    FOR    MY   TWILIGHT   RAMBLES^ 
ADDRESSED  TO  A  LADY. 

(Ellington,  Angiist,  1818.) 

Yes.  when  the  toilsome  daj*  is  gone, 

And  night  with  banners  gray. 
Steals   silently    the   glades   along 

In   twilight's   soft   array, 

I   love  to  steal  awhile  awaj- 

From  little  ones  and  care, 
And  spend  the   hours   of   setting  day 

In  gratitude  and  prayer. 

I   love  to  feast  on  Nature's  scenes 

» 

When  Talis  the  evening  dew. 
And  dwell  upon  the  silent  themes, 
Forever  rich  and  new. 

73 


HYMNS  THAT  ARE  IMMORTAL 

I  love  in  solitude  to  shed 

The  penitential   tear, 
And  all  God's  promises  to  plead 

Where  none  can  see  or  hear. 

I  love  to  think  on  mercies  past. 

And  future  ones  implore. 
And  all  my  cares  and  sorrows  cast 

On  Him  whom  I  adoje. 

I  love  to  meditate  on  death ! 

When   shall    II is   message   come. 
With    friendly   smiles   to    steal   my   breath, 

And  take  an  exile  home? 

T  love  by  faith  to  take  a  view 

Of  blissful  scenes  in  Heaven : 
The  sight  doth  all  my  strength  renew 

While  here  by  storms  I'm  driven. 

I  love  this  silent  twilight  hour 

Far  better  than  the  rest ; 
It  is  of  all  the  twenty-four. 

The  happiest  and  best. 

Thus,  when  life's  toilsome  day  is  o'er, 

jMay  its  departing  ray 
Be  calm  as  this  impressive  hour, 

And  lead  to  endless  day. 

Tune — "Arlington." 

Although  written  in  1818  the  first  adop- 
tion of  these  lines  as  a  hymn  appears  to  have 
been    in    Nettleton's    "Village    Hymns/^    in 

74 


TWILIGHT  DEVOTION 

1825.  8trictl.y  speaking  the  production  is  a 
poem  and  not  a  hymn.  Its  author  wrote  it 
merely  to  ease  her  troubled  heart  when  stung 
by  the  groundless  accusations  already  men- 
tioned, and  with  no  thought  of  its  ever  going 
into  print,  to  say  nothing  of  its  finding  a  per- 
manent place  in  the  hymnody  of  the  Church. 
Her  own  version  of  its  origin,  which  has  been 
quite  widely  circulated  for  years,  will  bear 
repetition  in  each  new  volume  devoted  to  the 
storv  of  the  Church's  hvmns. 

^*It  was  in  Ellington  that  I  wrote  the  'Twi- 
light Hymn,-  "  she  says.  "My  baby  daughter 
was  in  mv  arms  when  I  wrote  it.  I  had  been 
out  on  a  visit  to  Dr.  Hyde's  and  several  were 
present.  After  tea  one  of  my  neighbors,  who 
I  had  always  felt  was  my  superior  in  every 
way,  came  and  sat  down  near  me,  chatting 
with  another  lady,  without  noticing  me.  Just 
a&  I  was  rising  to  go  home,  she  turned  sud- 
denly Lipon  me  and  said :  'Mrs.  Brown,  why  do 
you  come  up  at  evening  so  near  our  house, 
and  then  go  back  without  coming  in?  If  you 
want  anything,  why  don't  you  come  in  and 
ask  for  it?  I  could  not  think  who  it  was,  and 
sent  my  girl  down  to  the  garden  to  see;  and 
she  said  it  was  you — that  you  came  to  the 
fence,  but,  seeing  her,  turned  quickly  away, 
muttering  something  to  yourself.' 

75 


HYMNS  THAT  ARE  IMMORTAL 

"'There  was  soniething  in  her  manner,  more 
than  her  words,  that  grieved  me.  I  went 
home,  and  that  evening  was  left  alone.  After 
my  children  were  all  in  bed,  except  my  baby, 
.1  sat  down  in  the  kitchen,  with  m^  child  in 
my  arms,  when  the  «rief  in  mv  heart  burst 
forth  in  a  flood  of  tears.  I  took  pen  and 
l»aper,  and  gave  vent  to  my  o])pressed  heart 
in  what  I  called  'My  Apology  for  my  Twi- 
light Rambles,  Addressed  to  a  Lady.'  It  will 
be  found  in  its  original  form  in  an  old  manu- 
script among  my  papers.  In  preparing  it 
(some  years  after)  for  Xettleton's  'Village 
Hymns'  some  three  or  four  verses  were  sup- 
pressed and  a  few  expressions  altered.  In 
the  original  of  what  is  now  the  first  stanza 
was : 

']    love    to    steal    awblle    away 
From  little  ones  and  care,' 

[instead  of  "From  cvcri/  cumhcring  care''  in- 
iroduced  later]. 

"This  was  strictly  true.  I  had  four  little 
children;  a  small  unfinished  house;  a  sick 
sister  in  the  only  finished  room ;  and  there 
was  not  a  place  above  or  below,  where  I 
could  retire  for  devotion,  without  a  liabilitv 
to  be  interrupted.  There  was  no  retired 
room,  rock,  or  grove  where  I  could  go  as  in 
former  days:  but  there  was  no  dwelling  be- 

76 


TWILIGHT  DEVOTION 

tTveen  our  liousa  and  the  one  where  that  lady 
lived.  Her  warden  extended  a  good  way  be- 
low her  house,  which  stood  on  a  beautiful 
eminence.  The  garden  was  highly  cultivated, 
with  fruits  and  flowers.  I  loved  to  smell  the 
fragrance  of  both  (though  I  could  not  see 
them).  When  I  could  do  so  without  neglect- 
ins:  niv  dutv,  I  used  to  steal  awav  from  all 
within  doors,  and,  going  out  of  our  gate, 
stroll  along  under  the  elms  that  were  planted 
for  shade  on  each  side  of  the  road ;  and 
as  there  was  seldom  any  one  passing  that 
way  after  dark,  I  felt  quite  retired  and  alone 
with  God. 

"I  of^en  walked  quite  up  to  that  beautiful 
garden,  and  snufled  the  fragrance  of  the 
peach,  the  grape,  and  the  rij)ening  aT)ple,  if 
not  the  flowers.  I  never  saw  anv  one  in  the 
garden,  and  I  felt  that  I  could  have  the  privi- 
lege of  that  walk  and  those  few  moments  of 
uninterrupted  communion  with  God  without 
encroaching  upon  any  one ;  but,  after  once 
knowing  that  my  steps  were  watched  and 
made  the  subject  of  remark  and  censure,  I 
never  could  enjoy  it  as  I  had  done.  I  have 
often  thought  Satan  had  tried  his  best  to  pre- 
vent me  from  prayer  by  depriving  me  of  a 
place  to  pray." 

One   of  those   ''little  ones''   referred  to   in 

77 


HYMNS  THAT  ARE  IMMORTAL 

the  original  form  of  the  second  stanza  of  this 
hymn  became  the  Rev.  S.  R.  Brown,  D.  D., 
and  went  as  the  first  Christian  missionary  to 
Japan,  possibly  in  answer  to  some  of  the 
many  prayers  breathed  by  that  holy  mother 
in  her  favorite  place  of  twilight  meditation. 
The  hymn  as  now  generally  printed  omits 
the  first,  third,  sixth  and  eighth  stanzas  of 
the  original,  which  improves  it  and  renders 
it  more  suitable  for  use  in  the  hymnals. 


78 


Consecration 


79 


XI 

watts' S    HYXX    OX    THE    CRUCIFIXIOX 

lu  the  Tear  1707,  when  he  was  but  thirtv- 
three  years  of  age,  Isaac  Watts  published  a 
volume  of  "Hymns  and  Sacred  Son^s,"  in- 
tended to  be  used  as  a  church  hymn-book, 
eyery  hymn  of  which  was  his  own  composi- 
tion. The  first  edition  of  this  work  contained 
two  hundred  and  ten  hymns,  supposed  to 
liaye  been  mostly  written  before  he  was 
twenty-fiye  years  of  age  and  while  he  was  liy- 
ing  in  his  father's  home  making  preparation 
for  beginning  his  public  ministry.  That  these 
hymns  were  of  a  high  order  is  evident  from 
the  general  favor  with  which  the  book  was  at 
once  received,  as  also  from  the  fact  that  they 
were  instrumental  in  producing  a  new  epoch 
in  church  hymnody. 

By  far  the  most  popular  of  all  the  hymns 
in  this  collection,  as  also  of  all  the  hymns 
Watts  ever  composed,  is  the  one  beginning. 

"When  I  surrey  the  wondrous  cross 
On  which  the  Prince  of  glory  died." 

In  the  first  edition  of  "Hymns  and  Spiritual 

8i 


HYMNS  THAT  ARE  IMMORTAL 

Songs,"  and  also  in  the  enlarged  edition  of 
1709,  this  hymn  appeared  under  the  title  of 
"Crucifixion  to  the  World  by  the  Cross  of 
Christ.  Gal.  G :  14."  The  Scripture  passage 
on  which  it  is  based  reads :  "But  God  for-, 
bid  that  I  should  glory,  save  in  the  cross  of 
our  Lord  Jesus  Christ,  b}'  whom  the  world  is 
crucified  unto  me,  and  1  unto  the  world." 
No  nobler  hvnin  has  ever  been  written  on  the 
crucifixion  than  this.  "In  popularity  and 
use,  in  its  original  or  slightly  altered  form,'' 
says  Dr.  Julian,  "this  hymn  is  one  of  the  four 
which  stand  at  the  head  of  all  hvmns  in  the 
English  language." 

Dr.  Watts,  who  has  had  no  peer  as  a  hymn- 
writer,  except  it  be  Charles  Wesley,  was  born 
in  Southampton,  England,  in  1674.  His  fa- 
ther was  a  deacon  in  the  Congregational 
Church.  Young  Watts  received  a  fair  edu- 
cation in  the  schools  of  his  native  town,  after 
which  certain  well-to-do  parties,  because  of 
his  extraordinary  brightness  and  promise, 
l)roposed  to  give  him  a  university  education. 
But  English  universities  were  then  closed 
against  Dissenters,  and  young  Watts  chose 
rather  to  suff'er  affliction  among  his  Dissent- 
ing brethren  than  to  enjoy  the  advantages  of 
an   English   university   for  a  season. 

He   entered  the  academy  of  Rev.   Thomas 

82 


ON  THE  CRUCIFIXION 

Rowe  at  Stoke  Newington,  and  in  1693  be- 
came a  member  of  Mr.  Rowe's  church.  On 
finishing  his  course  he  returned  to  the  home 
of  his  father^  where  the  next  two  years  were 
spent  in  special  preparation  for  the  ministry. 
In  1G9(>  he  became  a  tutor  to  Sir  John  Har- 
topp's  children,  in  Newington,  for  a  time,  for 
whom  he  composed  many  of  his  hymns  for 
children  which  afterward  became  so  popular. 

He  began  preaching  in  1698  at  Mark  Lane, 
near  the  Tower,  in  London.  Not  long  after 
this  he  was  seized  with  a  physical  infirmity 
v/hich  left  him  practically  an  invalid  for 
life.  He  continued  to  hold  his  pastorate,  but 
was  compelled  to  rely  largely  upon  an  as- 
sistant to  perform  the  duties  of  his  charge, 
giving  himself  chielly  to  the  writing  and  pub- 
lishing' of  livmns.     He  was  never  married. 

In  1713  he  accepted  an  invitation  to  spend 
a  little  time  at  the  house  of  Sir  Thomas  Abney, 
which  was  the  occasion  of  Mr.  Abnev's  res- 
idence  becoming  his  permanent  home.  Many 
\ears  later  he  wrote  the  Countess  of  Hunt- 
incidon :  ^'This  dav  thirty  vears  I  came 
hither  to  the  house  of  my  good  friend  Sir 
Thomas  Abney,  intending  to  spend  but  one 
single  week  under  his  friendly  roof,  and  I 
have  extended  mv  visit  to  exactly  the  length 
of  thirty  vears." 

83 


HYMNS  THAT  ARE  IMMORTAL 

He  published  his  metrical  version  of  the 
Psalms  of  David  in  1719.  He  also  published 
many  volumes  in  prose  as  well  as  in  verse, 
his  publications  numbering  fifty-two  volumes 
in  all.  He  died  in  peace  in  1748.  and  w^as 
long  held  in  precious  memory  ^'as  a  patriarch 
among  the  Dissenting  clergy.'' 

''When  I  survey  *  *  *  *  (>.^jj  hardly 
be  said  to  have  had  a  special  history,"  says 
Dr.  Benson,  ''apart  from  the  others  in  Watts's 
epoch-making  book.  But  there  are  several 
things  that  single  out  this  hymn  from  among 
the  rest.  One  is  its  extraordinarv  excellence. 
It  is  not  onlv  the  best  of  all  Watts's  hvmns, 
but  it  is  placed  by  common  consent  among 
Ihe  greatest  hymns  in  the  language.  An- 
other is  the  wideness  of  its  use.  The  greater 
part  of  Watts's  hymns  are  left  behind;  this 
IkS  sung  in  every  branch  of  the  English-speak- 
ing Church. 

^'eludged  by  the  number  of  church  hym- 
nals containing  it,  onlv  one  hvmn  is  used 
more  widely — Toplady's  'Rock  of  Ages.'  Its 
greatest  glory,  however,  is  the  part  it  has 
had  in  the  experience  of  Christians.  Only 
God  can  know  how  many  living  eyes  it  has 
inspired  with  the  ideal  of  the  cross  of  renun- 
ciation, how  many  dying  eyes  it  has  com- 
forted with  the  vision  of  the  cross  of  hope." 

84 


ISAAC  WATTS. 


ON  THE  CRUCIFIXION 

The  following  is  the  complete  original  text 
of  the  hrmn : 

When  I  survey  the  wondrous  cross 

Where  the  young   Prince  of  glory   died, 

My  richest  gain  I  count  but  loss, 
And  pour  contempt  on  all  my  pride. 

Forbid   it,   Lord,   that   I   should   boast. 
Save  in  the  death  of  Christ  my  God : 

Air  the  vain  things  that  charm  me  most, 
I  sacrifice  them  to  His  blood. 

See,  from  His  head,  His  hands.  His  feet, 
Sorrow  and  love  flow  mingled  down : 

Did  e'er  such  love  and  sorrow  meet? 
Or  thorns  compose  so  rich  a  crown? 

His  dying  crimson  like  a  robe 

Spreads  o'er  His  body  on  the  tree : 

Then  I  am  dead  to  all  the  globe. 
And  air  the  globe  is  dead  to  me. 

Were  the  whole  realm  of  nature  mine. 
That  were  a  present  far  too  small; 

Love  so  amazing,  so  divine. 

Demands  my  soul,  my  life,  my  all. 

Tune — "Eucharist." 

Modern  hymnals  generally  omit  the  fourth 
stanza,  and  that  wisely  in  our  opinion.  The 
hymn  is  complete  without  it,  and  a  super- 
fluous stanza  always  detracts  from  the  beau- 
ty  and  worth  of  a  hymn.     Then  the   word 

8s 


nY]\[NS  THAT  ARE  IMMORTAL 

^'globe"  is  unfortunately  introduced  for  the 
Haive  of  rhynie,  wbere  icorld  is  the  sense  in- 
tended— not  the  world  as  a  planet,  but  the 
morally  corrupt  order  of  things  surrounding 
and  continually  appealing  to  us  in  the  pres- 
ent state  of  being.  This  does  violence  to  the 
Scripture  ])assage  which  forms  the  basis  of 
Ihe  hymn.  ^loreover,  the  simile  contained  in 
tlie  first  couplet  seems  far-fetched  and  un- 
natural, while  the  last  couplet  expresses  as 
a  sequence  what  does  not  naturally  or  nec- 
essarily follow  from  the  fact  the  first  couplet 
was  intended  to  express.  That  Dr.  Watts 
himself  attached  less  importance  to  this 
stanza  than  to  the  rest  of  the  hymn  is  evi- 
dent from  the  fact  that,  in  the  second  edition 
of  his  ''Hymns  and  Songs,"  he  placed  it  with- 
in brackets,  as  the  stanza  to  be  omitted  if 
any  ])art  were  to  be  left  out  in  the  singing 
of  the  hymn. 

''Our  hymns  have  never  had  a  critic  so  se- 
^ere  as  ^latthew  Arnold,''  says  Dr.  Benson  in 
"Studies  of  Familiar  Hymns."  "But  on  the 
last  day  of  his  life  he  attended  the  Sefton 
Park  Presbyterian  Church,  Liverpool,  of 
which  Dr.  Watson  (Ian  Maclaren)  is  pastor. 
The  hymn,  'When  I  survey  the  wondrous 
cross/  was  sung.  Coming  down,  afterward, 
from  his  bedroom  in  his  brother-in-law's  house 

86 


ON  THE  CRUCIFIXION 

to  luncheon,  Mr.  Arnold  was  heard  softly  re- 
peating to  himself  the  opening  lines.  At 
luncheon  he  spoke  of  it  as  the  greatest  hymn 
in  the  language.  Afterward  he  went  out,  and 
in  ten  minutes  was  dead.  Does  not  such  an 
incident  (attested  bv  Dr.  Watson)  show  the 
importance  of  literary  merit  in  hymns?  It 
recalls  the  appeal  of  John  Wesley  for  hymns 
^such  as  would  sooner  provoke  a  critic  to  turn 
Christian  than  a  Christian  to  turn  critic' " 
This  hymn  should  be  sung  in  the  spirit 
of  that  true,  practical  consecration  which  it 
breathes,  or  not  sung  at  all.     To  sing, 

"Love  so  aniazinjr,  so  Divine. 

Demands  my  soul,  my  life,  my  all," 

and  then  go  on  living  to  one's  self,  withhold- 
ing tithes  from  the  Lord's  treasury,  unmoved 
by  the  most  powerful  appeals  for  aid  on  be- 
half of  the  sick,  the  poor  and  the  unfortunate 
-—or,  if  giving  at  all,  giving  stintedly  and 
grudgingly — is  naught  but  hollow  mockery,  a 
wicked  profanation  of  divine  worship. 

After  the  taking  of  a  collection,  in  a 
church  in  London,  the  congregation  led  by  the 
choir,  sang  this  beautiful  hymn  of  the  cross. 
When  the  echo  of  the  last  word  had  died 
away  the  pastor  slowly  repeated  the  last 
line, — 

87 


HYMNS  THAT  ARE  IMMORTAL 

"Demands  my  soul,  my  life,  my  all," 

and  added:  "Well  I  am  surprised  to  hear 
vou  sine;  that.  Do  you  know  that  altogether 
you  only  put  fifteen  shillings  into  the  bag 
this  morning?" 

In  a  certain  charit}'  sermon  the  preacher 
dwelt  on  tlie  inconsistency  of  singing  this 
hymn  without  making  the  practise  of  one's 
life  correspond  with  its  sentiments  of  con- 
secration and  self-sacrifice.  A  parsimonious 
old  brother,  nearly  deaf,  was  much  moved  by 
the  remarks  and  unconsciously  talked  out 
the  struggle  which  was  going  on  within  his 
heart.  The  periodical  which  reported  tiie  oc- 
currence said  that  he  ''sat  under  the  pulpit 
with  his  ear-trumpet  directed  upward  toward 
the  preacher.  -  *  *  *  At  one  time  he 
said  to  himself — 'I'll  give  ten  dollars;'  again 
he  said,  'I'll  give  fifteen.'  At  the  close  of  the 
appeal  he  was  very  much  moved  and  thought 
he  would  "five  fiftv  dollars.  Now,  the  boxes 
were  passed.  As  they  moved  along,  his  char- 
ity began  to  ooze  out.  He  came  down  from 
fifty  to  twenty,  to  ten,  to  five,  to  zero.  'Yet,' 
e:aid  he,  'this  won't  do — I'm  in  a  bad  fix. 
This  covetousness  will  be  my  ruin.' 

"The  boxes  were  getting  nearer  and  near- 
er.    The   crisis  w^as  now   upon  him.     What 

88 


ON  THE  CRUCIFIXION 

should  he  do?  The  box  was  now  under  his 
chin — all  the  congregation  were  looking.  He 
had  been  holding  his  pocket-book  in  his  hand 
during  this  soliloquy,  which  was  half  audible, 
though  in  his  deafness  he  did  not  know  that 
he  was  heard.  In  agony  of  the  final  moment 
he  took  his  pocket-book  and  laid  it  in  the  box, 
saying  to  himself  as  he  did  it, — ^^ow  squirm j 
old  natar.' '' 

Self-crucifixion  is  the  spirit  of  the  hymn, 
and  the  old  brother  described  in  the  forego- 
ing paragraph  finally  acted  upon  the  princi- 
ple of  self -crucifixion.  Would  that  many 
others  who  need  to  achieve  a  similar  victory 
v/ould  go  and  do  likewise. 


89 


XII 

Wesley's  hymn  on  the  living  sacrifice 

In  Romans  12 : 1  Saint  Paul,  turning  to  a 
powerful  application  of  the  truths  discussed 
in  the  preceding  chapters  of  his  epistle, 
savs:  "I  beseech  you  therefore,  brethrei!,  by 
the  mercies  of  God,  that  ve  present  your  bod- 
ies a  living  sacrifice,  holy,  acceptable  unto 
God,  which  is  3'our  reasonable  service.''  No 
sacred  lyrist  has  ever  more  completely  and 
concisely  embodied  the  sentiment  of  this  ex- 
hortation in  verse  than  Charles  Wesley,  in 
the  following  famous  consecration  hjmn: 

Fatiier,  Son,  aud  Holy  Gbost, 
One  in  Tliree,  and  Three  in  One, 

As  by  the  celestial  host, 
Let  Thy  will  on  earth  be  done : 

Praise  by  all  to  Thee  be  given, 

Glorious   Lord  of  earth  and  heaven! 

Vilest  of  the  sinful  race, 

liO !  I  answer  to  Thy  call : 
Meanest  vessel  of  Thy  grace. 

(Grace  divinely  free  for  all), 
Lo  I  I  come  to  do  Thy  will, 
All  Thy  counsel  to  fulfil. 

90 


ON  THE  LIVING  SACRIFICE 

If  so  poor  a  worm  as  I 

Maj^  to  Thy  great  glory  live. 
All  my  actions  sanctity, 

All  my  words  and  thoughts  receive; 
Claim  me  for  Thy  service,  claim 
All  I  have  and  all  I  am. 

Take  my   soul   and  body's  powers ; 

Take  my  memory,  mind,  and  will ; 
All  my  goods,  and  all  my  hours ; 

All  1  know,  and  all  I  feel ; 
All  I  think,  or  speak,  or  do; 
Take  my  heart ;  but  make  it  new. 

Now,  my  God,  Thine  own  I  am, 
Xo\\    I  give  Thee  back  Thine  own ; 

Freedom,  friends,  and  health,  and  fame, 
Consecrate  to  Thee  alone  : 

Thine  I  live,  thrice  happy  I, 

Happier  still  if  Thine  I  die. 

Father,  vSon,  and  Holy  Ghost, 

One  in  Three,  and  Three  in  Que, 

As  by  the  celestial  host, 

Let  Thy  will  on  earth  be  done : 

Praise  by  all  to  Thee  be  given, 

(ilorlous  Lord  of  earth  and  heaven' 

TU  XE "A  LETTA." 

This  appears  as  No.  155  in  Charles  Wes- 
ley's collection  of  ''Hvmns  on  the  Lord's 
Supper,"  dated  1745.  It  is  eminently  appro- 
priate for  use  as  a  closing  hymn  on  a  sacra- 
mental occasion,  and  equally  appropriate  for 
use  as  a  consecration    hymn  in  revival    ser- 

91 


H  y:mxs  that  are  immortal 

vices,  as  also  tor  use  in  one's  daily  personal 
dedication  of  himself  to  God.  He  who  daily 
lives  in  the  spirit  of  this  thoroughly  evangeli- 
cal hymn  will  ever  be  "more  than  conqueror" 
over  hell,  earth  and  sin  while  life's  battle 
rages,  and  will  also  be  gloriously  triumphant 
at  last  over  the  mortal  foe. 

"Directed  bv  his  own  choice  to  the  medical 
profession,  Daniel  M'Allum  was  subsequently 
called  by  the  great  Head  of  the  Church  to 
minister  in  holy  things.  In  obedience  to  this 
call,  he  exercised  his  ministry  among  the 
[English]  Wesleyans  until  (by  a  mysterious 
dispensation  of  Providence)  he  was  removed, 
in  the  midst  of  his  vears  and  his  usefulness, 
from  his  labors  on  earth  to  his  reward  in  hea- 
ven. *  *  *  *  When,  in  1819,  he  asked 
the  consent  of  the  conference  to  be  relieved 
from  the  law  which  prohibits  the  marriage  of 
Xn'obationers,  he  was  successful,  and  made  the 
following  entry  in  his  Journal  on  the  occa- 
sion :  ^Vs  it  respects  temporal  things,  my  de- 
sire is  to  live  honestly  in  the  sight  of  all  men ; 
and  my  prayer  is  that  which  Agur  offered  up» 
As  it  regards  heavenly  things,  my  wish  is  ex- 
pressed in  the  folloAving  lines : 

*If  so  poor  a  worm  as  I 

May  to  Thy  great  glory  live, 

92 


ON  THE  LIYIXG  SACRIFICE 

Air  my  actions  sanctify, 
Air  my  words  and  tlioughts  receive.' " 

His  last  testimony  was,  Oly  labors  are  done, 
but  I  build  only  on  the  merits  of  my  Savior. 
I  feel  that  Jesus  died  for  me.' " 


93 


XIII 

RAY   palmer's   HYI^IN    OF   FULL   SURRENDER 

If  ''Nearer,  my  God,  to  Thee,"  is  the 
most  popular  of  all  American  hymns,  the  next 
most  popular  sacred  lyric  produced  on  Amer- 
ican soil  is  Dr.  Ray  Palmer's 

"My   faith   looks  up  to  Thee, 
Thou  Lamb  of  Cal,vary, 
Savior  divine." 

In  fact,  some,  like  the  venerable  Dr.  Cuyler, 
assign  to  the  latter  hymn  the  chief  place  in 
American  hymnic  literature.  The  Doctor  de- 
clares it  ''by  far  the  most  precious  contribu- 
tion which  American  genius  has  yet  made  to 
the  hymiiologv  of  the  Christian  Church."  Per- 
haps  if  we  distinguish  properly  between  the 
words  "precious"  and  ''popular"  his  judg- 
ment is  a  just  one.  The  former  hymn  being 
chiefly  theistic  and  the  latter  distinctively 
evangelical,  the  one  has  in  it  the  elements  of 
a  wilder  popularity  and  the  other  the  ele- 
ments of  more  distinctively  Christian  value. 
"My  faith  looks  up  to  Thee"  was  written 

94 


HYMN  OF  FULL  SURRENDER 

ill  1830.  and  was  entitled,  "Self-Consecra- 
tion.'- Dr.  Palmer  was  then  a  young  man,  but 
twenty-two  years  of  age,  and  was  teaching 
in  a  Toun":  ladies'  school  in  New  York  City. 
He  had  recently  graduated  from  Yale  Col- 
lege.  His  health  was  poor,  and  he  was 
I>rosecuting  his  work  under  many  discourage- 
ments. In  this  condition  he  came,  not  by 
chance,  but  providentially,  upon  a  Oerman 
poetic  description,  in  two  stanzas  only,  of 
"A  Suppliant  Before  the  Cross,''  and  was  so 
deeply  touched  by  the  tender  beauty  of  the 
lines  that  he  at  once  translated  them  into 
English  yerse.  He  then  added  four  stanzas 
of  his  own  composition,  setting  forth  what 
the  suppliant  was  saying,  and  those  four 
stanzas  make  up  the  hymn  as  it  now  appears. 
When  asked  on  one  occasion  for  an  account 
of  the  origin  of  the  hymn,  the  aufhor  made 
the  following  statement  as  to  the  mood  in 
which  it  was  composed :  '^I  gaye  form  to 
what  T  felt  by  writing,  with  little  effort,  these 
stanzas.  I  recollect  I  wrote  them  with  yery 
tender  emotion,  and  ended  the  last  line  with 
tears.  I  composed  them  with  a  deep  con- 
sciousness of  my  own  needs,  without  the 
slightest  thought  of  writing  for  another  eye, 
and  least  of  all  of  writing  a  hymn  for  Chris- 
tian worship."  After  the  hymn  had  attained  its 

95 


HYMNS  THAT  ARE  IMMORTAI, 

great  popularity  Dr.  Palmer  expressed  it  as 
his  opinion  that  the  production  brought  com- 
fort to  the  hearts  of  Christians  ''chiefly  be- 
cause it  expresses  in  a  simple  way  that  act 
Avhich  is  the  most  central  in  all  true  Chris- 
tian life — the  act  of  trust  in  the  atoning 
Lamb." 

The  hymn  originally  appeared  in  the  fol- 
lo>ying  form : 

My  faith  looks  up  to  Thee, 
Thou  Lamb  of  Calvary, 

Savior  divine. 
Now   hear  me  while  I  pray, 
Take  all  my  guilt  away, 
O  let  me  from  this  day 

Be  wholly  Thine ! 

May  Thy  rich  grace  impart 
Strength  to  my  fainting  heart. 

My  zeal  inspire! 
As  Thou  hast  died  for  me, 
O  may  my  love  to  Thee 
Pure,  warm  and  changeless  be, 

A  living  fire! 

While  life's  dark  maze  I  tread, 
And  griefs  around  me  spread, 

Be  Thou  my   guide; 
Bid  darkness  turn  to  day, 
Wipe  sorrow's  tears  away, 
Nor  let  me  ever  stray 

From  Thee  aside. 

96 


RAY  PALMEE. 


HYMN  OF  FULL  SURRENDER 

"\"\'lien  ends   life's  transient  dream, 
Wlien  death's  cold,  sullen  stream 

Sljall  o'er  me  roll : 
Blest  Savior,  tben.  in  love. 
Fear  and  distrust  remove ; 
O  bear  me  safe  above. 

A  ransomed  soul  I 

Tune — "Olivet."' 

About  two  years  iifter  the  hymn  was  writ- 
teu  Dr.  Lowell  Masou  met  the  author  ou  one 
of  the  streets  of  Boston.  After  they  had  ex- 
changed greetings  the  famous  composer  in- 
formed Mr.  T^ilmer  that  he  and  Dr.  Hastings 
were  compiling  a  church  music-book,  and  re- 
quested a  contribution  for  its  pages.  Mr. 
Palmer  remembered  the  verses  he  had  written 
two  years  before,  drew  them  from  his  pocket, 
made  a  co]»y  of  them  and  submitted  it  for 
approval.  Dr.  Mason,  after  he  had  taken  time 
to  examine  them  was  peculiarly  impressed 
by  the  verses,  and  predicted  that  they  would 
yet  be  sung  around  the  world.  He  proceeded 
at  once  to  set  them  to  appropriate  music,  com- 
posing the  tune  "Olivet''  as  the  most  suitable 
means  of  rendering  them  in  song.  Assuredly 
there  was  a  divine  providence  in  the  wedding 
of  this  hymn  and  tune;  "and  what  Ood  hath 
joined  together  let  no  man  put  asunder." 

The  next  time  Dr.  Mason  met  Mr.  Pahner 
after  receiving  the  hymn  he  said  to  liim :  'Mr. 

97 


HYMNS  THAT  ARE  IMMORTAL 

Palraer.  \o?j  may  live  many  years  and  do 
many  good  things,  but  I  think  you  will  be 
best  known  to  posterity  as  the  author  of  ^My 
faith  looks  up  to  Thee.'  "  That  was  a  true 
l)rophecT,  although  Mr.  Palmer  wrote  many 
(/ther  hvmns  of  rare  merit,  and  himself  re- 
garded 

"Jesus,  these  eyes  have  never  seen 
That  radiant  form  of  Thine," 

as  his  best  production. 

After  filling  pastorates  acceptably  in  Bath, 
Maine,  and  Albany,  New  York,  he  was  made 
Corresj)onding  Secretary  of  the  Congrega- 
tional Union  in  1865.  He  continued  in  this 
j)Osition  until  1878,  when  ill  health  comjjelled 
him  to  resign.  He  then  settled  in  Newark, 
New  Jersey,  where  he  finished  his  course  in 
1887.  It  is  said  that  on  the  day  before  his 
death  he  was  heard  faintly  murmuring  to 
himself  the  lines, 

"When   death   these  mortal    eyes   shall   seal. 
And  still  this  throbbing  heart, 
The  rending  veil  shall  Thee  reveal 
All  glorious  as  Thou  art." 

In  his  '^Recollections  of  a  Long  Life"  Dr. 
Cuyler  says:  ''Dr.  Palmer  preached  several 
times  in  my  Brooklyn  pulpit.  He  was  once 
with   us  on   a  sacramental   Sabbath.     While 

98 


HYMN  OF  FULL  SURRENDER 

the  deacons  were  passing  the  sacred  elements 
among  the  congregation  the  dear  old  man 
broke  out  in  a  tremulous'  voice  and  sang  his 
own   heavenly   lines : 

*My    faith    looks    up    to    Thee, 
Thou  Lamb  of  Calvary, 
Savior   divine.' 

It  was  like  listening  to  a  rehearsal  for  the 
heavenly  cboir,  and  the  whole  assembly  was 
most  deeply  moved." 

While  not  as  old  as  many  of  the  hymns  in 
general  use  among  English-speaking  Chris- 
tians, "'My  faith  looks  up  to  Thee"  has  won 
for  itself  as  imperishable  a  place  in  the  hearts 
of  true  believers  as  any  of  those  which  have 
been  longer  on  trial.  It  is  hallowed  by  asso- 
ciations most  touching  and  sacred,  and  by 
a  history  which  is  full  of  interest  and  signif- 
icance. Perhaps  there  is  no  Christian  home 
in  English-speaking  Christendom  where  its 
plaintive  strains  have  not  inspired  faith, 
quickened  hope,  and  imparted  consolation  in 
hours  of  distracting  trouble,  bewildering 
temjjtation  and  heart-crushing  sorrow.  To 
how  many  it  has  brought  the  ministry  of 
light,  peace  and  comfort  as  they  passed 
^'through  the  valley  of  the  shadow  of  death," 
God  only  knows.  Such  a  hymn  is  a  boon  of 
priceless   worth. 

99 


HYMNS  THAT  ARE  IMMORTAL 

"In  connection  with  the  spiritual  use  of 
the  hymn,"  says  Colonel  Smith,  '"this  story 
though  old,  is  still  interesting.  Mrs.  Layath 
Baraket,  a  natiye  of  Syria,  who  was  edu- 
cated in  the  mission  schools  at  Beirut,  went 
as  a  teacher  to  Egypt,  where  she  made  much 
use  of  ^^ly  faith  looks  up  to  Thee.'  By  the 
insurrection  of  Arabi  Pasha  in  1882,  she  was 
driven  out  of  tliat  country,  and  with  her  hus- 
band  and  child  came  to  tlie  United  States. 
*Her  history  is  a  strange  illustration  of  God's 
providential  care,  as  they  were  without  any 
friends  in  Philadelphia,  where  they  landed.' 
During  her  visit  in  America  Mrs.  Baraket 
made  many  public  addresses  and  attracted 
large  audiences.  Her  talks  on  missionary  ef- 
forts in  Syria  and  Egypt  were  rich  in  prac- 
tical and  interesting  incidents  and  illustra- 
tions. She  had  been  permitted  to  see  her 
whole  family,  who  were  Maronites  of  Mount 
Lebanon,  converted  to  Christianity.  Her 
mother,  at  the  age  of  sixty-two,  was  taught 
to  sing  an  Arabic  translation  of  Dr.  Palmer's 
hymn;  and  in  1884,  when  she  received  the 
news  that  her  daughter  had  reached  the  Uni- 
ted States  in  safety  and  was  kindly  received, 
she  responded  by  simply  repeating  the  words 
of  this  hymn. 

"In  the  evening  before  one  of  the  terrible 

100 


HYMN  OF  FULL  SURRENDER 

battles  of  the  Wilderness  during  the  Civil 
\A'ar,  eic,ht  voiinff  men  who  were  warmly  at- 
tached  to  each  other  bv  the  ties  of  Christian 

I. 

comradeship,  held  a  praver-meeting.  A  great 
battle  was  inimiuent,  and  it  seemed  improb- 
able that  all  of  them  would  survive  the  con- 
flict. Before  separating  for  the  night,  they 
wrote  an  exj^ression  of  their  feelings  on  a 
sheet  of  paper.  It  was,  in  fact,  a  death 
pledge;  and  was  to  remain  as  an  evidence  of 
their  Christian  faith  should  they  fall  in  bat- 
tle. The  words  to  which  all  the  young  men 
subscribed  their  names  were  those  of  the 
hymn, 

'My   faitb    looks    up   to   Thee.' 

The  battle  went  hard  with  the  regiment  to 
which  these  eight  soldiers  of  the  Cross  and 
Union  belonged,  and  seven  of  them  fell  before 
the  blazing  discharge  of  shot  and  shell  of  the 
enemv.-' 

In  the  composition  of  this  hymn  Dr.  Palm- 
er wrote  his  own  heart's  experience  and  ex- 
pressed his  faith  and  hope  for  the  future.  In 
doing  this  he  wrote  the  experience  and  ex- 
pressed the  faith  and  hope  of  all  true  Chris- 
tians. This  is  what  gives  vitality  and  popu- 
larity to  the  hymn  and  will  cause  it  to  sing 
its  way  on  to  latest  generations. 

lOI 


XIV 

MISS  havergal's  great  consecration 

HYMN 

Miss  Frances  Ridley  Havergal  was  evident- 
ly designed  by  Providence  for  extraordinary 
jichievements  in  the  interests  of  Christ's 
Church  and  Ivingdom,  and  that  particularly 
in  the  realm  of  holy  song.  The  daughter  of 
a  devout  English  clergyman,  the  Rev.  Wil- 
iam  Henry  Havergal,  who  was  himself  the 
author  of  much  valuable  church  music,  in- 
cluding such  tunes  as  ''Evan,"  ''Zoan,"  and 
'•Patmos,''  and  baptized  by  another  hymn- 
^\  riter  of  distinction,  the  Rev.  John  Cawood, 
author  of  ''Hark !  what  mean  those  holy 
voices?"  it  will  be  seen  that  she  was  reared 
amid  the  most  favorable  religious  surround- 
ings and  "in  an  atmosphere  of  hymns." 

She  was  a  precocious  child,  too,  and  the 
story  of  her  early  development,  though  well 
authenticated,  reads  quite  like  fiction.  "A 
study  of  her  short  life  reminds  us  that  she 
could  read  at  three ;  that  she  wrote  verses  at 
seven   with   remarkable  fluency;  that   in   her 

102 


HYMN  OF  CONSECRATION 

girlhood  days  she  knew  the  whole  of  the  New 
Testament,  the  Psalms,  and  Isaiah  by  heart, 
and  afterward  memorized  the  Minor  Proph- 
ets: that  when  fourteen  years  old  she  had  a 
f>lowiDo:  spiritual  enthusiasm ;  that  she  early 
acquired  the  French,  German,  Italian,  Latin, 
Greek  and  Hebrew  languages;  that  she  daily 
read  the  Old  and  New  Testaments  in  the  orig- 
inal ;  that  she  could  play  through  Handel  and 
much  of  Mendelssohn  and  Beethoven  without 
notes ;  that  she  had  a  sweet  singing  voice  and 
was  a  reputable  composer;  and  that,  in  her 
school  da  vs.  though  ha  vine;  a  frail  constitu- 
tion,  she  climbed  the  Swiss  mountains  that 
she  might  revel  in  the  scene  of  perpetual 
snow." 

Such  in  early  years  was  she  whom  the  Lord, 
by  providential  discipline  and  through  the  be- 
stowal of  extraordinary  grace,  prepared  for 
that  exalted  ministry  in  the  realm    of    hal- 

ft. 

lowed  song  which  reached  its  culmination  in 
the  composition  of  the  Consecration  Hymn  be- 
ginning, 

"Take   my    life,    and    let    it    be 
Consecrated,  Lord,  to  Tliee." 

The  hymn  was  written  as  the  expression  of 
her  own  entire  and  irrevocable  devotement  of 
herself   to   God's    service,    and    was    born    of 

103 


HYMNS  THAT  ARE  IMMORTAL 

an  inspiration  which  came  to  its  author 
on  her  reception  of  the  sanctifying  fulness  of 
the  Holy  Spirit.  She  had  been  awakened  to 
an  unquenchable  longing  for  ''unreached  at- 
tainments" in  the  divine  life  through  the  read- 
ing of  a  little  book  on  the  subject  which  came 
into  her  hands  in  1873.  Yielding  herself  up 
fully  to  God  she  soon  received  ''the  blessing" 
and  entered  upon  a  new  era  in  her  Christian 
history.  Previously  inclined  to  depression  of 
spirits,  such  as  drove  Cowper  to  madness,  she 
now  lived  in  a  realm  of  perennial  sunshine, 
and  shed  the  light  of  holy  gladness  on  all 
around  her. 

"It  was  on  Advent  Sunday,  December  2nd. 
1873,"  she  says  in  a  letter  to  her  sister,  "I 
first  saw  clear  1}^  the  blessedness  of  true  con- 
secration. I  saw  it  as  a  flash  of  electric 
light,  and  what  you  sec,  you  can  never  unsee. 
There  must  be  full  surrender  before  there  can 
be  full  blessedness.  God  admits  you  by  the 
one  into  the  other."  That  "full  surrender" 
which  is  tlie  onlv  and  the  sure  wav  into  ''full 
blessedness"  Miss  Havergal  had  most  definite- 
ly and  consciously  reached ;  and,  vrhat  it  then 
meant  to  her  and  must  ever  mean  to  all  who 
intelligently  make  it,  she  has  expressed  with 
remarkable  clearness  and  great  poetic  beauty 
in  the  hymn  which  follows : 

104 


FRANCES  RIDLEY  HAVEEGAL. 


HYMN  OF  CONSECRATION 

Take  my  life,  and  let  it  be 
Consef-ratecl,  Lord,  to  Thee. 
Take  my  moments  and  my  days ; 
Let  tliem  flow  in  endless  praise. 

Take  my  bands,  and  let  tbem  move 
At  the  impulse  of  Tby  love. 
Take  my  feet,  and  let  tbem  be 
Swift  and  beautiful  for  Tbee. 

Take  my  voice,  and  let  me  sing, 
Always,  only,  for  my  King. 
Take  my  lips,  and  let  tbem  be 
Filled  ^^•itb  messages  from  Thee 

Take  my  silver  and  my  gold ; 
Not  a  mite  would  I  withhold. 
Take  my  intellect,  and  use 
Every  power  as  Thou  shalt  choose. 

Take  my  will,  and  make  it  Thine ; 
It  shall  be  no  longer  mine. 
Take  my  heart,  it  is  Thine  own ; 
It  shall  be  Thy  royal  throne. 

Take  my  love;  my  Lord,  I  pour 
At  Thy  feet  its  treasure-store. 
Take  myself,  and  I  will  be 
Ever,  only,  all  for  Thee. 

Tune — "Hendon"  or  "Patmos." 

^[iss  navergal  wrote  this  hymn  February 
4th,  1S74,  and  has  herself  given  us  an  account 
of  its  origin  in  the  following  words:     ^Ter- 

105 


HYMNS  THAT  ARE  IMMORTAL 

haps  you  will  be  interested  to  know  the  ori- 
gin of  the  Consecration  Hvmn,  'Take  Mv 
Life.'  I  went  for  a  little  visit  of  five  da3's  to 
the  Arely  House.  There  were  ten  persons  in 
the  house,  some  unconverted  and  long  prayed 
for,  sonije  converted,  but  not  rejoicing  Chris- 
tians. He  gave  me  the  prayer,  ^Lord,  give  me 
all  in  this  house  I'  And  He  just  did!  Before  I 
left  the  house  every  one  had  got  a  blessing. 
The  last  night  of  my  visit  I  was  too  happy 
to  sleep,  and  passed  most  of  the  night  in 
praise  and  renewal  of  my  own  consecration, 
and  these  little  couplets  formed  themselves 
and  chimed  in  mv  heart  one  after  another  till 
thev  finished  with,  "Ever,  onlv,  ALL  for 
Thee." 

The  hvmn  has  been  translated  into  several 
languages,  in  all  of  which  it  is  accomplishing 
a  blessed  ministrv. 

The  life  of  the  talented  and  holy  woman 
who  wrote  this  Consecration  Hym;n  was  not 
protracted  long  on  earth.  She  first  saw  light 
in  Astlev  rectorv,  December  14th,  1836,  and 
closed  her  eyes  to  earthly  scenes  June  3rd, 
1870.  Her  last  days  were  spent  at  Caswell 
Bay,  Swansea,  South  Wales,  whither  she  had 
gone  in  quest  of  renewed  strength.  On  learn- 
that  her  end  was  very  near  she  rejoiced  at  the 
tidings  as  "too  good  to  be  true."     She  died 

io6 


HYMN  OF  CONSECRATIOX 

in  peace  and  holy  triumph,  and  was  buried 
in  the  Astlev  churchyard  beside  her  father 
and  near  tiie  home  of  her  early  years.  On 
lier  tombstone  appears,  caryed  by  her  own 
direction,  her  fayorite  text  of  scripture — 

"The    blood    of    Jesus    Christ    his    Son 
cleanseth  us  from  all  six/' 


107 


Salvation 


109 


XV 

MOST   HELPFUL   HYMN   FOR    SEEKERS 

No  Iiymn  in  the  English  tongne  more  cor- 
rectly indicates  the  way  in  which  a  penitent 
sinner  may  find  pardon  or  is  better  adapted 
to  leading  him  to  the  very  heart  of  the  Savior, 
than  Charlotte  Elliott's 

"Just  as  I  am  without  one  plea, 
But  tiiat  Tlay  blood  was  shed  for  me." 

It  is  probable  that  no  other  hymn  has  ever 
been  instrumental  in  leading  so  many  pen- 
itents through  the  successive  steps  of  self-re- 
nunciation, self-surrender,  and  appropriating 
faith  in  Christ,  out  into  ''the  measureless 
depths  of  His  love"  as  this.  Its  very  great 
popularity  and  its  translation  into  nearly  all 
languages  of  the  civilized  world  indicate  that, 
judged  by  the  measure  of  its  use  and  influ- 
ence, it  deserves  to  be  classed  among  the  fore- 
most hymns  of  the  Christian  Church. 

Miss  Elliott,  the  author  of  the  hymn,  was 
born  in  Clapham,  England,  March  18,  1789. 
She  was  reared  in  the  Established  Church, 

III 


HYMNS  THAT  ARE  IMMORTAL 

and  grew  to  womanhood  amid  advantages  of 
the  most  favorable  kind.  Bred  in  a  home  not 
onlv  of  piety,  but  of  culture  and  refinement, 
where  poetr^^  and  music  continually  exercised 
their  elevating,  inspiring  and  ennobling  in- 
fluence upon  her,  she  was  early  molded,  both 
mentally  and  spiritually,  for  the  invaluable 
service  she  rendered  to  the  Church  of  God  as 
a  hymn-writer  in  her  maturer  years. 

When  about  thirtj-two  years  of  age  she 
suffered  from  a  serious  illness  which  left  her 
an  invalid  for  life.  This  appears  to  have 
been  another  of  the  peculiar  providences  by 
which  she  was  prepared  for  that  ministry  of 
song  through  which  she  was  made  a  blessing 
to  the  Church  and  to  the  world  for  all  genera- 
tions. Songs  like  hers  seldom  emanate  from 
any  but  hearts  which  have  been  broken  by 
sorrow  or  chastened  and  mellowed  by  afflic- 
tion. 

In  1832  Miss  Elliott  first  became  acquaint- 
ed with  Dr.  Caesar  Malan,  a  devout  and  dis- 
tinguished Swiss  preacher,  on  the  occasion  of 
a  visit  which  he  made  at  her  father's  home  in 
('lapham.  He  soon  recognized  her  superior 
talents  and  possibilities,  and  appreciated 
them;  and  it  is  said  to  have  been  chiefly 
through  him  that  she  was  led  to  abandon  sec- 
ular pursuits  and  devote  her  talents  wholly 

112 


HELPFUL  HYMN  FOR  SEEKERS 

to  the  cause  of  Christ.  Dr.  Malan  was  also 
instrumental  in  putting  that  spiritual  im- 
press upon  her  life  and  character  which  has 
so  beautifully  expressed  itself  in  the  hymns 
she  wrote,  the  number  of  which  considerably 
exceeds  one  hundred. 

The  hymn  by  which,  more  than  by  any  or 
all  others,  she  has  immortalized  herself  is  the 
one  now  under  consideration,  the  original  of 
which  is  as  follows: 

Just  as  I  am,  without  one  plea, 
But  that  Tliy  blood  was  sbed  for  me. 
And  that  Thou  bidd'st  me  come  to  Thee, 
O  Lamb  of  God,  I  come! 

Just  as  I  am,  and  waiting  not 
To  rid  my  soul  of  one  dark  blot. 
To  Thee,  whose  blood  can  cleanse  each  spot, 
O  Lamb  of  God,  I  come ! 

Just  as  I  am,  though  tossed  about, 
With  many  a  conflict,  many  a  doubt, 
Fightings  and  fears  within,  without. 
O  Lamb  of  God,  I  come  I 

Just  as  I  am,  poor,  wretched,  blind, 
Sight,  riches,  healing  of  the  mind, 
Yea,  all  I  need  in  Thee  to  find, 
O  Lamb  of  God.  I  come  I 

Just  as  I  am.  Thou  wilt  receive, 
Wilt  welcome,  pardon,  cleanse,  relieve, 

113 


HYMNS  THAT  ARE  IMMORTAL 

Because  Thy  promise  I  believe, 
O  Lamb  of  God,  I  come! 

Just  as  I  am   (Tliy  love  unknown 
lias  broken  every  barrier  down), 
Now  to  be  Tbiue,  yea.  Thine  alone, 
O  Lamb  of  (Jod,  I  come ! 

Just  as  I  am,  of  that  free  love 
The  breadth,  length,  depth  and  height  to  prove, 
Here  for  a  season,  then  above. 
O  Lamb  of  God,  I  come ! 

Tune — "Woodwoeth." 

The  last  of  the  foregoing  stanzas  is  gen- 
erally omitted  in  the  hymnals.  There  is  some 
ditference  of  opinion  as  to  whether  its  omis- 
sion is  wise  or  otherwise.  Its  poetry  does 
not  flow  quite  as  smoothly  as  that  of  the  other 
stanzas,  but  the  sentiment  is  fine  and  forms 
a  final  climax  of  thought  which  is  both  nat- 
ural and  scriptural,  and  without  which  the 
L'ymn  is  less  complete  than  it  is  with  the 
stanza  retained. 

This  beautiful  Christian  lyric  has  had  a 
marvelous  history  of  association  with  the 
conversion  of  sinners.  Said  the  Rev.  H.  V. 
Elliott,  brother  of  Charlotte,  "In  the  course 
of  a  long  ministry  I  hope  I  have  been  per- 
mitted to  see  some  fruit  of  my  labors,  but  I 
feel  far  more  has  been  done  by  a  single  hymn 

114 


HELPFUL  HYMX  FOR  SEEKERS 

of  my  sister's."  He  referred  to  "Just  as  I 
Am." 

There  are  before  the  author  as  he  writes  a 
considerable  number  of  published  instances  of 
the  influence  of  this  hymn  upon  the  hearts 
and  lives  of  saints  and  sinners.  From  among 
them  the  following  are  presented  in  con- 
densed form : 

On  one  occasion  the  Epworth  League  of  the 
Lenox  Road  church,  Brooklyn,  at  its  exer- 
cises previous  to  the  Sunday  evening  preach- 
ing service,  sang,  "Just  as  I  Am."  and  then 
at  tlie  regular  hour  of  public  service  the  same 
hymn  was  announced  and  sung  again.  It 
being  a  sultry  evening  the  windows  of  the 
church  were  open  during  the  service.  A  few 
doors  away  lived  a  young  lawyer,  who,  lying 
in  his  room  with  his  windows  raised,  could 
distinctly  hear  the  words  of  the  hymn.  He 
had  become  hardened  and  skeptical  regarding 
religious  matters.  All  gracious  influences 
had  been  resisted,  and  he  had  come  to  regard 
himself  as  too  far  gone  for  reform;ation.  But 
"Just  as  I  Am,"  sung  by  the  two  different 
congregations  the  same  evening,  produced  a 
deep  impression  upon  his  mind,  and  led  him 
to  a  change  of  heart.  The  next  day  he  sent 
for  the  pastor  of  the  church  and  related  to 
him  with   deep  and  strong  emotion  the  cir- 

115 


HYMNS  THAT  ARE  IMMORTAL 

cumstances  of  his  conversion.  Fortunate  in- 
deed was  it  for  him  that  he  experienced  this 
change  when  he  did,  since  failing  health  soon 
compelled  him  to  go  South  for  a  change  of 
climate,  where  death  claim^ed  him  as  its  vic- 
tim a  few  months  later. 

The  Rev.  Dr.  ]McCook,  during  his  pastorate 
in  St.  Louis,  was  sent  for  on  one  occasion  to 
visit  a  young  woman  who  was  slowly  dying 
of  consumption.  She  had  been  attending  a 
normal  school,  and  from  one  of  her  teachers 
had  imbibed  infidel  sentiments.  Her  keen  in- 
tellect quickly  warded  off  every  effort  to  in- 
duce her  to  acknowledge  the  claims  of  the 
gospel.  After  the  man  of  God  had  exhausted 
all  his  arguments  she  still  remained  unshaken 
in  her  skepticism,  while  he  was  perplexed  to 
know  w^hat  more  he  could  do  toward  secur- 
ing the  conversion  of  the  dying  girl.  So  ad- 
verse was  she  to  hearing  more  on  the  subject 
of  religion  that  she  turned  her  face  to  the 
wall  and  declined  giving  him  further  atten- 
tion. After  a  time  the  minister  said  to  her, 
*Xucy,  I  have  not  come  to  argue  with  you 
another  word,  but  before  leaving  you  to  meet 
the  issues  of  eternity  I  wish  to  recite  a  hymn." 
With  much  earnestness  and  emphasis  he  then 
repeated, 

"Just  as  I  am,  without  one  plea," 
Il6 


HELrFUL  HYMN  FOR  SEEKERS 

and  kindly  bade  her  adien.  She  gave  him  no 
recognition  and  no  response.  He  sadly  left 
her,  and  went  his  way  debating  whether,  after 
such  a  determined  refusal  of  all  his  tender 
efforts  to  do  her  good,  it  would  be  best  to 
visit  her  again.  Realizing  the  gravity  of  her 
situation,  however,  he  decided  to  make  one 
more  effort  to  reach  her  obdurate  heart.  Call- 
ing again  he  took  his  seat  by  her  side,  where- 
upon she  slowly  turned  toward  her  visitor. 
Unwonted  luster  beamed  from  her  sunken 
eyes  as  she  placed  her  emaciated  hand  in  his 
and  slowly,  but  with  deep  emotion,  said : 

"Just  as  I  am,  without  one  plea, 
But  that  Thy  blood  was  shed  for  me. 
And  that  Thou  bidd'st  me  come  to  Thee, 
O  Lamb  of  God,  I  come,  I  come !" 

and  then  added:  '0  Sir,  Fvc  come!  I've 
comeF'  The  hymn  had  done  what  argument 
and  persuasion  had  failed  to  do — determined 
the  dying  girl  to  tlie  choice  of  Jesus  Christ, 
and  of  eternal  life  in  Him.  The  end.  which 
came  not  long  afterward,  was  one  of  such 
peace  as  Christ  alone  can  give. 

In  the  year  1800  The  Examiner  published 
the  following  interesting  account :  ''A  few 
weeks  ago  a  little  boy  came  to  one  of  our 
city   missionaries,   and   holding   up   a   dirty, 

117 


HYMX8  THAT  ARE  IMMORTAL 

worn-ont  bit  of  printed  paper,  said :  Tlease 
sir,  father  sent  me  to  get  a  clean  paper  like 
that.'  Taking  it  from  his  hand,  the  mission- 
ary unfolded  it,  and  found  that  it  was  a  page 
containing  that  precious  lyrical  epitome  of  the 
gospel,  of  which  the  first  stanza  is  as  follows: 

'Just  as  I  am.  without  ODe  plea, 
But  that  Thy  blood  was  shed  for  me, 
And  that  Thou  bidcVst  me  come  to  Thee, 
O  Lamb  of  God,  I  come,  I  comel' 

"The  missionary  looked  down  with  interest 
into  the  face  earnestly  upturned  to  him,  and 
asked  the  little  boy  where  he  got  it,  and  why 
he  wanted  a  clean  one.  'We  found  it,  sir,' 
said  he,  'in  sister's  pocket,  after  she  died,  and 
she  used  to  sino^  it  all  the  time  while  she  was 
sick;  and  she  loyed  it  so  much  that  father 
wanted  to  get  a  clean  one,  and  put  it  in  a 
frame  to  hang  up.  Won't  you  please  to  giVe 
us  a  clean  one,  sir?' 

''This  little  page,  with  a  single  hymn  on  it, 
had  been  cast  upon  the  air,  like  a  fallen  leaf, 
by  Christian  hands,  humbly  hoping  to  do 
some  possible  good.  In  some  little  mission 
Sabbath-school,  probably,  this  poor  girl  had 
thoughtlessly  receiyed  it,  afterward  to  find 
it,  we  may  hope,  the  gospel  of  her  salyation." 
Bishop  Mcllyaine.  of  Ohio,  was  so  charmed 

Ii8 


HELPFUL  HYMN  FOR  SEEKERS 

with  ^liss  Elliott's  lyrical  masterpiece  that 
he  had  it  printed  on  cards  for  use  in  one  of 
his  conventions,  and  said  :  ''I  have  adopted 
it  for  all  time  to  come,  as  long  as  I  shall  be 
here,  as  my  hymn,  always  to  be  sung  on  such 
occasions,  and  always  to  the  same  tune.  *  * 
*  *  That  hvmn  contains  my  religion,  mv 
theology,  my  hope.  It  has  been  my  ministry 
to  preach  just  what  it  contains.  When  I  am 
gone  I  wish  to  be  remembered  in  association 
with  that  hymn.  I  wish  that  my  ministry 
may  be  associated  with 

'Just  as  I  am,  without  oue  plea, 
But  that  Thy  blood  was  shed  for  me, 
And   that  Thou   bidd'st  me  come  to   Thee, 
O  Lamb  of  God,  I  come,  I  come!' 

Dying  some  years  later  in  Florence,  Italy, 
he  sent  last,  loving  messages  to  his  Ohio 
friends,  and  then  said  to  those  about  him: 
''Read  to  me  three  hvmns — 'Just  as  I  am ' 
'Jesus,  Lover  of  my  Soul,'  and  'Rock  of 
Ages.' "  The  hymns  were  read;  and,  "filled 
with  joy  and  peace,*'  the  good  man  closed  his 
eyes  on  earth  to  open  them  in  heaven. 


119 


XVI 

THE  GREATEST  HYMN  OF  THE  CROSS 

Toplady's  ^'Rock  of  xVges'^  contends  stout- 
ly with  Charles  Wesley's  "Jesus,  Lover  of  my 
Soul"  for  the  most  popular  recognition  of 
any  hymn  in  the  English  language.  It  is 
almost  universally  used.  It  has  even  been 
adopted  by  the  Roman  Catholics,  in  England. 
A  London  paper,  Sunday  at  Home,  asked 
8,500  of  its  readers  to  name  twenty  of  the 
greatest  hymns,  and  3,215  placed  "Rock  of 
Ages"  first.  Nor  is  its  influence  restricted  to 
English-speaking  countries,  since  the  late 
Hon.  W.  E.  Gladstone  translated  it  into 
Latin,  Greek  and  Italian. 

"Rock  of  Ages"  is  certainly  one  of  the 
brightest  gems  in  the  hymnody  of  the  Church, 
and  has  become  so  inwrought  with  the  deep- 
est and  holiest  experiences  of  Anglo-Saxon 
Christianity  as  have  few  things  else  outside 
the  word  of  God. 

In  palace  and  cottage  alike  it  has  min- 
istered its  inspiration  and  consolation  to  the 
tempted,  the  disconsolate,  the  sick  and  the 

130 


GREATEST  HYMN  OF  THE  CROSS 

dying.  The  late  Prince  Consort,  ''Albert  the 
Good,"  quoted  it  just  before  passing  within 
the  vail,  as  expressing  his  own  experience  of 
faith  and  hope,  and  as  affording  him  most 
precious  consolation  while  earthly  things 
were  dissolving  from  his  view  forever.  In 
manv  a  humble  cot  and  cabin,  as  well  as  in 
the  palace  of  the  prince,  its  sublime  and  ten- 
der strains  have  been  a  divine  benediction  to 
the  dying,  inspiring  faith,  enkindling  hope, 
assuaging  grief  and  quelling  fear;  while  to 
almost  innumerable  thousands  it  has  been  as 
a  sovereign  balm  for  the  wounded  spirit  in 
times  of  deep  distress  and  amid  various  dis- 
tracting and  bewildering  experiences.  It  is 
a  hymn  that  will  live  forever. 

Augustus  Montague  Toplady,  the  author  of 
''Rock  of  Ages,'-  was  born  at  Farnham,  Sur- 
rey, England,  in  1740.  His  father  fought  and 
fell  in  the  battle  of  Carthagena,  and  Augustus 
was  thereafter  reared  bv  his  devout  and  holv 
mother.  He  was  educated  at  Westminster 
School,  and  at  Trinity  College,  Dublin.  He 
was  converted  at  the  age  of  sixteen,  in  a  barn, 
at  an  obscure  place  called  Codymain,  Ireland, 
whither  he  had  gone  to  hear  an  illiterate  lay- 
man preach.  The  impression  made  upon  him 
by  the  sermon  was  most  unexpected,  and  so 
powerful  that  it  led  to  his  immediate  conver- 

121 


HYMNS  THAT  ARE   IMMORTAL 

sion.  He  has  recorded  the  following  account 
of  the  event: 

''That  sweet  text,  'Ye  who  sometime  were 
afar  off  are  made  nigh  hy  the  blood  of  Christ/ 
was  particularly  delightful  and  refreshing  to 
my  soul.  It  was  from  that  passage  that  Mr. 
Morris  preached  on  the  memorable  evening  of 
my  effectual  call  by  the  grace  of  God.  Un- 
der tlie  ministry  of  that  dear  messenger, 
under  that  sermon,  I  was,  I  trust,  brought 
nigli  by  the  blood  of  Christ,  in  August,  1756. 

"Strange  that  I,  who  had  been  so  long  un- 
der the  means  of  grace  in  England,  should  be 
brought  nigh  to  God  in  an  obscure  part  of  Ire- 
land, amidst  a  handful  of  God's  people  met 
together  in  a  barn,  and  under  the  ministry  of 
one  who  could  scarcely  spell  his  name.  The 
excellency  of  such  power  must  be  of  God,  and 
cannot  be  of  men." 

Toplady  became  a  minister  of  the  Estab- 
lished Church,  and,  while  studying  for  the 
ministry,  was  made  a  high  Calvinist  by  at- 
tending Dr.  Manton  s  lectures  on  the  Seven- 
teenth Chapter  of  John.  When  the  discus- 
sion over  Calvinism  arose  in  connection  with 
the  Wesleyan  reformation  he  naturally  took 
sides  with  the  Calvinists,  and  preached  and 
wrote  in  opposition  to  the  Wesleys  and  their 
views  with  most  intemperate  zeal.    It  is  much 

122 


GREATEST  HYMN  OF  THE  CROSS 

to  be  regretted  that  one  of  so  lofty  a  spirit, 
and  of  a  character  in  all  other  respects  so  ex- 
emplary, should  have  been  betrayed  into  such 
fierce  vituperation  as  characterizes  his  contro- 
versial writings.  His  intemperate  language 
and  his  intolerance  in  controversv  are  the 
only  blemishes  on  his  exalted  character. 

Tn  1775  Toplady's  health  began  to  fail.  The 
fiery  ardor  with  which  he  applied  himself  to 
the  duties  of  his  calling  was  more  than  the 
earthern  vessel  could  endure.  His  physician 
sent  him  to  London.  A  new  field  opened  to 
him  here,  in  the  pastorate  of  the  French  Cal- 
vinistic  Church,  the  duties  of  which  he  as- 
sumed and  performed  with  great  faithfulness. 
Some  time  during  the  year  of  his  settlement 
in  London  he  produced  that  sublime  hymn, 
which,  had  he  never  achieved  anything  else 
of  distinction,  would  have  immortalized  his 
name. 

The  hymn  first  apeared  in  the  Gospel  Maga- 
zine, a  periodical  of  which  Toplady  was  then 
editor.  He  published  an  article  on  "The  Na- 
tional Debt,"  in  which,  along  with  other 
things,  he  adverted  to  the  debt  of  sin.  dis- 
coursing on  the  multitudinous  sins  of  hu- 
manity, and,  by  numerical  calculations,  ex- 
hibited the  enormity  of  the  indebtedness  of 
the  redeemed  to  Christ  for  having  cancelled 


'& 


123 


HY]MNS  THAT  ARE   IMMORTAL 

their  sins,  thereby  setting  forth  the  trans- 
cendent love  of  God  and  the  measureless  value 
of  Christ's  atonement.  Exalted  to  the  realm 
of  such  insi)iring  contemplations  and  of 
visions  thus  glowing  and  ecstatic,  he  con- 
cluded with  this  matchless  "hvmn  of  the 
cross :" 

Rock  of  ages,  cleft  for  me, 

Let  me  liido  myself  in  Tbee ; 

Let  the  water  and  the  blood. 

From  Thy  riven  side  which  flowed, 

Be  of  sin  the  double  cure, 

Cleanse  me  from  its  guilt  and  power. 

Not  the  labor  of  my  hands 
Can  fulfil'  Thy  law's  demands; 
Could  my  zeal  no  respite  know, 
Could  my  tears  forever  flow, 
All  for  sin  could  not  atone. 
Thou  must  save,  and  Thou  alone. 

Nothing  in  my  hand  I  bring. 
Simply  to  Thy  cross  I  cling; 
Naked,  come  to  Thee  for  dress", 
Helpless,  look  to  Thee  for  grace; 
L'oul,  I  to  the  fountain  fly  ; 
Wash  me.  Savior,  or  I  die. 

Whilst  I  draw  this  fleeting  breath, 
When    my   eyestrings    break    in   death ; 
When  I  soar  through  tracts  unknown. 
See  Thee  on  Thy  judgment  throne. 

124 


GREATEST  HYMN  OF  THE  CROSS 

Rock  of  ages,  cleft  for  me, 
Let  me  bide  myself  iu  tliee. 

Tune — "Toplady." 

The  foregoing  is  the  h^nin  in  its  original 
form,  from  which  it  will  be  readily  seen  that 
numerous  and  important  changes  have  been 
made  in  giving  it  the  form  in  which  it  is  now 
generally  used. 

Neither  in  the  article  in  connection  with 
which  the  hymn  was  first  given  to  the  public, 
nor  in  Toplady's  hymn-book  published  the 
same  year,  is  his  authorship  of  the  hymn  di- 
rectlv  given.  This  fact  led  to  some  mistaken 
views  as  to  its  authorship  in  the  earlier  pe- 
riod of  its  historv.  ''In  a  letter  in  the  Wes- 
Icjjan  Magazine,  as  late  as  1S32,"  says  Dr. 
Til  left,  "Richard  Watson  erroneously  attri- 
butes it  to  Charles  Wesley.  The  early  Meth- 
odists would  have  welcomed  proof  that  Wes- 
ley was  the  author;  for  the  nwst  unpleasant 
controversv  that  John  Weslev  was  ever  drawn 
into  was  that  which  he  had  with  the  author 
of  this  hymn  over  doctrinal  points,  Toplady 
being  a  pronounced  Calvinisf 

It  adds  to  the  interest  and  impressiveness 
of  the  hymn  to  know  that  it  was  written  near 
the  close  of  Toplady's  life,  when  he  was  sen- 
sible that  the  day  of  his  dissolution  was  draw- 
ing   near,  and  when  his  feet    were    already 

125 


HYMNS  THAT  ARE  IMMORTAL 

standing  on  Pisgah's  height,  from  which  vis- 
ions of  celestial  glory  were  vouchsafed  to  his 
redeemed  spirit.  About  two  years  after 
the  first  appearance  of  the  hymn  its  author, 
at  the  age  of  thirty-eight,  came  to  the  time 
of  his  departure  from  earth,  a  victim  of 
consumption ;  and,  in  that  supremely  try- 
ing hour  he  realized  in  blessed  fulfilment  the 
prayer  breathed  in  the  last  stanza  of  his  im- 
mortal hvmn. 

^'Rock  of  Ages"  was  originally  entitled,  ^^\ 
Living  and  Dying  Prayer  for  the  Holiest  Be- 
lievers in  the  World."  Although  the  hymn 
was  written  bv  one  of  John  Weslev's  bitter- 
est  opponents  and  given  a  title  which  was 
itself  a  sneer  at  the  Wesleyan  doctrine  of 
perfection,  Methodists  everywhere  have  adopt- 
ed it  as  orthodox,  and  in  a  high  degree  spirit- 
ually helpful.  Comparatively  few  of  them 
know,  or  ever  stop  to  consider  if  they  do 
know,  that  it  had  its  origin  in  the  midst  of 
the  heated  controversv  between  the  Calvinists 
and  Arminians  which  was  incidental  to  the 
rise  of  ^lethodism,  and  was  perhaps  written 
more  or  less  under  the  influence  of  contro- 
versial bias.  Whatever  of  human  imperfec- 
tion may  have  been  associated  with  its  pro- 
duction, the  hymn,  in  its  intrinsic  merit,  true 
sublimitv  and  historic  associations,  has  be- 

126 


GREATEST  HYMN  OF  THE  CROSS 

come  so  entirely  dissociated  from  all  trace 
and  remembrance  of  those  imperfections  as 
to  suffer  no  depreciation  therefrom. 

The  historic  associations  which  enhance  its 
interest  and  value  are  too  numerous  for  re- 
hearsal here.  The  following  are  simply  sam- 
ples: 'A  translation  of  it  was  sung  by  a 
company  of  Armenians  while  they  were  being 
massacred  in  Constantinople.  General  J.  K. 
]>.  Stuart,  the  cayalry  leader  of  the  Con- 
federacv,  sang  it  as  he  was  dying  from 
wounds  received  in  battle.  When  the  ship 
'London'  sank  in  the  Bay  of  Biscay  in  186(), 
the  last  thing  which  the  last  man  who  left 
the  ship  heard  as  the  boat  pushed  otf  from 
the  doomed  vessel,  was  the  voice  of  the  pas- 
sengers singing,  'Rock  of  Ages.' " 

Topladv  wrote  various  other  hvmns  of 
merit,  but  his  reputation  as  a  hymn-writer 
will  always  be  associated  with  "Rock  of 
Ages,"  the  sublimest  and  most  popular  of  all 
his  productions. 


127 


x\aT 

NOBLEST   HEART   HYMN   EV^ER   WRITTEN 

Xotwitlistanding  all  that  was  said  and 
quoted  in  a  former  chapter  in  praise  of  Top- 
lady's  famous  hymn,  the  writer  believes  that 
Charles  ^Yesley's  ''Jesus,  lover  of  my  soul," 
is  the  most  popular  Christian  lyric  in  the 
English  lanijuage. 

Dr.  Duffield,  author  of  "Stand  up,  stand 
up  for  Jesus,"  wrote  of  it  as  follows:  "One 
of  the  most  blessed  davs  of  mv  life  was  when 
I  found,  after  my  harp  had  long  hung  on  the 
willows,  that  I  could  sing  again;  that  a  new 
song  was  put  in  my  mouth;  and  when,  ere 
ever  I  was  aware,  I  Avas  singing,  Mesus,  lover 
of  mv  soul.'  If  there  is  anvthing  in  Christian 
experience  of  joy  and  sorrow,  of  affliction  and 
prosperity,  of  life  and  death — that  hymn  is 
the  hymn  of  the  ages." 

Henry  Ward  Beeclier  referred  to  it  in  the 
following  terms  of  praise:  "I  would  rather 
have  written  that  hvmn  of  Weslev's, — 

•Jesus,  lover  of  my  soul. 
Let  me  to  Thy  bosom  fly,' 

128 


JESUS,  LOVER  OF  MY  SOUL 

than  to  have  the  fame  of  all  the  kings  that 
ever  sat  on  the  earth.  It  is  more  glorious.  It 
has  more  power  in  it.  1  would  rather  be  the 
autlior  of  that  hymn  than  to  hold  the  wealth 
&f  the  richest  man  in  New  York.  He  will 
die.  He  is  dead  and  does  not  know  it.  He 
will  pass,  after  a  little  while,  out  of  men's 
thoughts.  What  will  there  be  to  speak  of 
him?  What  will  he  have  done  that  will  stoj) 
trouble  or  encourage  hope?  His  money  will 
go  to  his  heirs,  and  they  will  divide  it.  It  is 
like  a  stream  divided  and  growing  narrower 
bv  division.  And  thev  will  die,  and  it  will 
go  to  their  heirs.  In  three  or  four  genera- 
tions evervthins:  comes  to  the  ground  again 
for  redistribution.  But  that  hymn  will  go  on 
singing  until  the  last  trump  brings  forth  the 
angel  band :  and  then.  I  think,  it  will  mount 
up  on  some  lip  to  the  very  presence  of  God.-' 
The  hymn  was  written  in  1730,  within  six 
months  after  the  founding  of  the  first  Meth- 
odist society.  It  appeared  in  "Hymns  and 
Sacred  Poems''  in  1740,  entitled,  "In  Tempta- 
tion." It  originally  contained  five  stanzas, 
the  third  being  now  generally  omitted.  The 
complete  text  of  the  hymn,  as  Charles  Wesley 
wrote  it,  is  as  follows : 

Jesus,  Lover  of  my  soul. 
Let  me  to  Thy  bosom  fly, 

129 


UVMXS  TUAT  ARE   IMMORTAL 

\\  Lile  the  nearer  waters  roll, 
\\'liile  the  tempest  still  is  high! 

Hide  me,  O  my  Savior,  hide. 
Till  the  storm  of  life  be  past; 

Safe  into  the  haven  guide, 

0  receive  my  soul  at  last! 

Other  refuge  have  I  none, 

Hangs  my  helpless  soul  on  Thee: 
Leave, ah!  leave  me  not  alone, 

Still  support  and  comfort  me ! 
All  my  trust  on  Thee  is  stayed. 

All  mj^  help  from  Thee  I  bring, 
Cover  njy  defenseless  head 

With  the  shadow  of  Thy  wing. 

Wilt  Thou  not  regard  my  call? 

Wilt  Thou  not  accept  my  prayer? 
Lo!  I  sink,  I  faint,  I  fall— 

Lo,  on  Thee  I  cast  my  care : 
Reach  me  out  Thy  gracious  hand! 

While  I  of  Thy  strength  receive, 
Hoping  against  hope  I  stand, 

Dying,  and,  behold,  I  live. 

Thou.  O  Christ,  art  all  I  want ; 

More  than  all  in  Thee  I  find : 
Raise  the  fallen,  cheer  the  faint, 

Heal  the  sick,  and  lead  the  blind. 
Just  and  holy  is  Thy  name ; 

1  am  all  unrighteousness : 
False,  and  full  of  sin,  I  am ; 

Thou  art  full  of  truth  and  grace. 

Plenteous  grace  with  Thee  is  found, 
Grace  to  cover  all  my  sin : 

130 


JESUS,  LOVER  OF  MY  SOUL 

Let  the  healing  streams  abound, 
^lake  and  keep  me  pure  within, 

Thou  of  life  the  fountain  art ; 
Freely  let  me  take  of  Thee : 

Spring  Thou  up  within  my  heart. 

Rise  to  all  eternity. 

Tune — "Martyn"  or  "Refuge." 

Various  accounts  of  how  the  hymn  came  to 
be  written  have  gained  more  or  less  currency, 
but  none  of  them  can  be  regarded  as  authen- 
tic. Dr.  Nutter  in  his  "Hvmn  Studies''  savs, 
*'The  original  title  (^In  Temptation')  gives 
us  some  light,  and  the  omitted  stanza,  es- 
pecially in  connection  with  the  first  verse, 
sho^^-^  that  some  of  the  imagery  and  language 
of  this  hymn  was  borrowed  from  the  stc-rv  of 
Peter's  attempt  to  walk  on  the  Sea  of  Galilee, 
Matt.  14 :  28-31.  The  author's  genius  and 
his  rough  experience  on  the  Atlantic  ac- 
count for  the  rest." 

^Ir.  Stevenson,  in  his  "Methodist  Hvmn 
Book  Illustrated."  gives  the  following  es- 
timate of  this  popular  hymn :  "The  Lord  of 
glory  bestowed  on  Charles  Wesley  the  high 
honor  of  composing  the  finest  heart-hyniini  in 
the  English  tongue.  If  the  greatest  hvmn  of 
the  cross  is  'Rock  of  Ages,'  and  the  greatest 
hymn  of  providence  is  Cowper's  ^God  moves 
in  a  mysterious  way,'  and  the  grandest  bat- 
tle-hymn is  ^lartin  Luther's  ^\  mighty  fort- 

131 


HYMNS  THAT  ARE   IMMORTAL 

ress  is  our  God^'  then  it  may  be  said  that 
the  noblest  JiGart-hymn  ever  written,  the  queen 
of  all  the  lays  of  holy  love,  is  this  immortal 
song.  It  is  at  once  a  confession  and  a  prayer 
in  meter.  The  figures  of  speech  vary,  but  not 
the  thought.  In  one  line  we  see  a  storm-tossed 
voyager  crying  out  for  shelter  until  the  tem- 
pest is  over.  In  another  we  see  a  timid,  tear- 
ful child  nestling  in  its  mother's  arm." 

The  solacing  power  of  this  hymn  in  times 
of  sorrow  is  marvelous;  and  there  are  com- 
paratively few  among  English-speaking  Chris- 
tians who  have  not  had  occasion  to  praise 
God  and  bless  the  memory  of  Charles  Wesley 
for  its  wondrous  ministrv  of  comfort  in  some 
of  their  own  dark  hours  and  heart-breaking 
experiences. 

''Two  lines  of  the  hymn  have  been  breathed 
fervently  and  often  out  of  bleeding  hearts," 
says  Dr.  T.  L.  Cuyler.  ''When  we  were  in 
the  valley  of  death-shade,  with  one  beautiful 
child  in  the  new-made  grave,  and  others 
threatened  with  fatal  disease,  there  was  no 
prayer  which  we  said  oftener  than  this: 

'Leave,  ah  I  leave  me  not  alone, 
Still  support  and  comfort  me.' 

We  do  not  doubt  that  tens  of  thousands  of 
other  bereaved  and  wounded  hearts  have  ut- 

132 


JESUS,  LOVER  OF  MY  SOUL 

tered   this   piercing  cry,   out   of  the   depths, 
'Still  support  and  comfort  me.'  " 

It  is  said  of  the  late  President  Charles  G. 
Finney,  of  Oberlin.  Ohio,  that,  as  he  was 
walking  about  his  grounds  not  long  before 
his  death,  in  the  church  where  he  had 
preached  for  forty  years  the  evening  serv- 
ice had  just  begun.  Presently  the  strains 
of  holy  song  arose  from  the  assembly,  and, 
floating  to  him  on  the  breeze,  he  heard  the 
words  of  this  imperishable  hymn.  His  soul 
W'as  touched,  and  taking  up  the  strains,  he 
sang  with  the  invisible  worshipers,  uniting 
in  their  praises  to  the  end.  Before  morning 
he  had  joined  the  choir  invisible  within  the 
vail. 

It  was  in  the  "Young  Reaper,"  if  we  re- 
member correctly,  a  Baptist  Sunday-school 
paper  with  which  we  were  familiar  in  early 
Tears,  that  we  once  read  an  account  of  two 
30ung  women  who  were  sisters,  being  left  to 
their  fate  on  the  deck  of  a  sinking  shij),  the 
vessel  having  been  abandoned  by  the  captain 
and  his  crew.  The  only  passenger  on  the  ship 
besides  themselves  was  a  gentleman,  who. 
after  vainly  appealing  to  the  captain  to  un- 
dertake their  rescue,  threw  a  small  hatch  into 
the  water,  plunged  in  himself,  seized  the 
hatch,  clung  to  it.  and  floated  until  rescue 

133 


HYMNS  THAT  ARE   IMMORTAL 

readied  liim.  His  little  raft  remained  near 
enough  to  the  sinking  ship  for  him  to  see  the 
end.  According  to  his  report,  as  the  steamer 
was  gradually  sinking  with  the  setting  of  the 
sun.  he  saw  the  sisters  standing  on  the  deck, 
their  arrns  about  each  other,  and  their  voices 
mingled  in  singing, 

"Jesus,  Lover  of  my  soul, 
Let  Die  to  Tby  bosom  fly, 
While  the  raging  billows  roll, 
While  the  tempest  still  is  high." 

Listening,  as  their  song  continued,  he  heard 
at  last  the  words, 

"Cover  my  defenseless  head, 

With  the  shadow  of  Thy  wing," 

and  in  a  moment  all  was  over;  the  ship  had 
made  its  final  plunge,  and  with  it  those  two 
sisters  sank  to  rise  no  more. 

^'The  one  central,  all-pervading  idea  of  this 
matchless  hymn  is  the  soul's  yearning  for  its 
Savior.''  It  is  adapted  alike  to  the  needs  of 
the  penitent,  in  quest  of  pardoning  mercy;  to 
the  tried  and  tempest-tossed  believer,  in  his 
daily  burden-bearing  and  warfare  against  sin 
and  Satan ;  to  the  bereaved  and  heart-broken 
of  all  classes;  to  the  saint  whose  lot  it  is  to 
suffer  long  under  the  wasting  of  slow   and 

534 


JESUS,  LOVER  OF  MY  SOUL 


painful  disease;  and  to  those  who,  in  early 
years,  in  the  midst  of  their  days,  or  "in  age 
and  feebleness  extreme,"  must  pass  "through 
the  vallev  of  the  shadow  of  death." 
t  Precious  hvmni  Mav  its  ministry  of 
heavenly  inspiration  and  holy  comfort  never 
cease  until  distracting  care,  deferred  hope, 
depressing  sorrow  and  heart-rending  grief 
shall  be  known  on  earth  no  more. 


Is 


:io 


XVIII 

NEARER,   MY   GOD,   TO  THEE 

Another  hymn  which,  for  general  accept- 
ance and  extensive  use,  can  scarcely  be  re- 
garded as  of  inferior  rank  to  those  already 
considered  is 

"Nearer,  Diy  God,  to  Thee." 

No  hymn-book  of  to  day  is  complete  without 
it.  It  is  a  favorite  with  Christian  worshipers 
of  all  classes.  Romanists  and  Protestants, 
Trinitarians  and  Unitarians,  Conformists 
and  Independents,  Calvinists  and  Arminians, 
all  alike  express  their  yearnings  for  greater 
nearness  to  the  Divine  in  the  singing  of  its 
plaintive  but  exalted  strains.  Nor  is  it  pop- 
ular with  English-speaking  people  alone,  as 
appears  from  the  fact  that  ''it  has  been  trans- 
lated into  many  languages,  and  has  followed 
the  triumphs  of  the  gospel  in  heathen  lands." 
"It  is  the  best  metrical  expression  of  the 
desire  for  a  more  intimate  spiritual  acquaint- 
ance with  God,  and  the  riches  of  His  grace," 
says  Mr.  Butterworth,  ''that  we  have  in  mod- 

136 


NEARER,   MY   GOD,   TO  THEE 

ern  psalmnody.  It  is  a  fresh  and  touchiDg 
expression  of  the  same  yearning  aspirations 
toward  God  that  we  prize  in  Cowper's  'Oh, 
for  a  closer  wallc  with  God,'  which  it  succeeds 
in  popular  favor.  It  expresses  a  willingness 
to  know  God  through  the  discipline  of  aiflic- 
tion ;  to  descend  into  the  valleys  in  the  ascent 
of  that  spiritual  mountain  whose  summit  is 
everlasting  light.'' 

Sarah  Flower  Adams,  the  author,  was  born 
at  Harlow,  in  Essex,  England,  February  22, 
1S05.  Her  father,  Benjamin  Flower,  was  edi- 
tor of  the  Cambridge  IntelUqencer,  an  influ- 
ential weekly  publication  devoted  to  the  sup- 
port of  radical  principles.  "Accused  of  libel- 
ing the  Bishop  of  Llandaff,  whose  political 
conduct  he  had  censured,"  says  Dr.  Benson, 
"he  was  sentenced  to  six  months'  imprison- 
ment in  Newgate  with  a  fine  of  £100.  He  was 
visited  in  prison  by  Miss  Eliza  Gould,  a  lady 
who  is  said  to  have  suffered  for  her  own  lib- 
eral principles,  and  shortly  after  his  release 
he  married  her.  They  settled  at  Harlow  in 
Essex,  where  Mr.  Flower  became  a  printer 
and  where  Mrs.  Flower  died  in  ISIO.  Sarah's 
mother  is  described  as  a  ladv  of  talent,  as 
was  also  her  sister  Eliza,  a  few  years  older 
than  herself,  and  likewise  an  authoress. 

In  1834  Miss  Flower  was  married  to  Wil- 

137 


HYMNS  THAT  ARE  IMMORTAL 

liam  Bridges  Adams,  an  eminent  engineer, 
and  also  a  contribntor  to  several  of  the  lead- 
ing newspai)ers  and  magazines  of  the  time. 

In  1847  she  was  sorely  shocked  bv  the  death 
of  her  sister  Eliza,  who  had  been  steadily  de- 
elining,  frijm  pulmonary  trouble,  for  some 
time,  and  to  whom  she  most  tenderly  minis- 
tered during  the  whole  period  of  the  gather- 
ing shadows.  From  this  time  her  own  health 
gradually  declined,  while  her  religious  aspira- 
tions, always  strong,  grew  more  vigorous,  un- 
til, two  years  after  her  sister's  departure,  she 
too,  fell  asleep  in  Christ.  Her  end  was  quite 
in  keeping  with  her  life  of  faith  and  hope, 
^'almost  her  last  breath  bursting  into  un- 
conscious song,  illustrating  the  stanza, 

*0r  if  on  joyful  wing, 

Cleaving  tlie  sky. 
Sun,  moon  and  stars  forgot, 

Upward  I  fly. 
Still  all  my  song  shall  be, 
Nearer,  my  God  to  Thee, 

Nearer  to  Thee.' " 

The  story  of  the  hymn,  is  as  follows :  After 
the  death  of  their  father  the  sisters  settled  in 
a  suburb  of  London,  where  they  united  with 
a  religious  society  having  for  its  pastor  the 
Rev.  \Yi11iam  Johnson  Fox,  "a  man  who, 
though  classed  among  L'nitarians,  was  neither 

138 


NEARER,  MY   GOD,   TO  THEE 

a  rationalist  nor  a  sympathizer  with  Chan- 
uing  or  Martineau."  Mr.  Fox  prepared  a 
collection  of  ''Hymns  and  Antliems"  for  use 
in  his  own  congregation,  for  which,  at  ]iis  re- 
quest, Mrs.  Adams  wrote  thirteen  original 
hymns  and  a  few  translations.  Among  these 
contributions  was  "Xearer,  my  God.  to  Thee." 
The  hymn  first  a])peared  in  the  second  part 
of  Mr.  Fox's  collection,  with  the  title,  "Near- 
ness to  God  Desired."  in  1841. 

This  hymn  has  had  to  win  its  way  against 
more  prejudice  and  hostile  criticism,  perhaps, 
than  any  other  that  eyer  approxim,ated  to  the 
same  degree  of  popularity.  This  is  due  to  the 
fact  that  the  author  was  a  Unitarian,  and  that 
the  hymn  makes  no  direct  mention  of  Christ. 
It  should  be  remembered,  howeyer,  that  her 
piety  ''was  gauged  by  deyotional  feeling  and 
high  religious  attainments,  rather  than  by 
denominational  requirements  or  sectarian 
yiews.-'  God  often  leads  sincere  souls  to  the 
mount  of  spiritual  yision  and  into  heart  ex- 
periences of  grace  in  spite  of  errors  in  in- 
tellectual belief.  Martin  Luthei'  is  a  remark- 
able illustration  of  this.  It  will  be  well  to 
remember  too  that  "Nearer,  my  God.  to  Thee" 
is  by  no  means  the  only  hymn  of  deyotion  in 
our  hymnals  that  fails  to  make  direct  mention 
of  the  name  of  Christ.  No  one  objects  to 
Addison's 

139 


HYMNS  THAT  ARE   IMMORTAL 

"When  all  Thy  mercies,   O  my  God, 
My  rising  soul  surveys," 

because  it  makes  no  mention  of  the  second 
Person  in  the  Trinity. 

The  Rev.  Dr.  Tillett  has  well  said,  "Chris- 
tians will  never  consent  to  give  up  those 
sweetest  and  tenderest  hvmns,  'O  Thou  who 
driest  the  mourner's  tears/  and  ^Come,  ye  dis- 
consolate,' because  the  gifted  author,  Thomas 
Moore,  was  far  from  being  a  Christian.  Ba- 
laam and  Saul  were  among  the  prophets." 

The  original  text  of  the  hymn,  which,  not- 
withstanding the  many  efforts  made  to  im- 
])rove  it  b}^  alterations  and  additions,  re- 
mains in  most  hymnals  substantially  un- 
changed, is  as  follows : 

Nearer,  my  God  to  Thee, 

Nearer  to  Thee ! 
E'en  though  it  be  a  cross 

That  raiseth  me ; 
Still  all  my  song  would  be, 
Nearer,  my  God  to  Thee, 

Nearer  to  Thee. 

Though  like  the  wanderer. 

The  sun  gone  down. 
Darkness  be  over  me, 

My  rest   a   stone; 
Yet  in  my  dreams  I'd  be, 
Nearer,  my  God  to  Tliee, 

Nearer  to   Thee. 

140 


^..•'      ' 


NEARER,   MY   GOD,  TO  THEE 

There  let  the  way  appear, 

Steps  unto    heaven  : 
All  that  Thon  send'st  to  me 

In   mercy  given : 
Angels   to   beckon   me 
Nearer,  my  God  to   Thee, 

Nearer  to  Thee. 

Then,  with  my  waking  thoughts, 

Bright   \\  ith   Tliy   praise, 
Out   of  my   stony   griefs 

Bethel  I'll  raise: 
So  by  my  woes  to  be 
Nearer,  my  God  to  Thee, 

Nearer  to  Thee. 

Or  if  on  joyful  wing 

Cleaving  the  sky. 
Sun,  moon,  and  stars  forgot, 

Upwards  I  fly. 
Still   all  my  song  shall  be, 
Nearer,    my   God   to   Thee. 

Nearer   to   Thee. 

TuxE — "Bethany." 

About  half  a  dozen  persons,  most  of  them 
of  some  distinction,  have  tried  the  experiment 
of  adding  to  tlie  original  a  stanza  that  ex- 
presses dependence  on  C'hrist  for  salvation, 
but  none  of  them  have  been  regarded  as 
improvements  by  the  Church  generally,  or 
are  likely  to  be  so  regarded.  What  was  orig- 
inally the  product  of  an  inspiration  can  not 

141 


HYMNS  THAT  ARE  IMMORTAL 

well  be  improved  by  alterations  made  in  the 
interest  of  doctrinal  or  sectarian  prejudice. 

This  hymn  has  been  pecnliarly  endeared  to 
the  writer  through  a  circumstance  which  oc- 
curred in  connection  with  his  own  devoted 
mother's  final  illness.  It  was  his  privilege  to 
minister  to  her  most  of  the  time  the  last  two 
Aveeks  before  she  passed  to  her  heavenly 
home.  During  one  of  her  paroxysms  of  suf- 
fering she  turned  her  face  suddenly  toward 
him',  and  exclaimed:  "Oh,  Wilson,  sing!  I 
do  belie\e  if  you  would  sing  it  would  ease 
my  pain  I"  To  the  question,  ''Mother,  what 
shall  I  sing?'-  she  replied,  with  great  fervor, 
'•Sing  'Nearer,  my  God  to  Thee.'  " 

Struggling  with  emotion  we  sang  the  hymn 
as  best  we  could,  the  sufferer  in  the  meantime 
becoming  more  at  ease.  At  the  conclusion  of 
Ihe  vsinging  she  exclaimed,  with  much  em- 
phasis, ^'You  didnH  sing  it  all!''  When  told 
that  one  stanza  had  been  forgotten,  recalling 
a  part  of  it  herself,  she  said,  with  increased 
emphasis,  "Sing 

'So  by  my  woes  to  be 
Nearer,  my  God  to  Thee."  " 

Then  we  sang,  greatly  to  her  satisfaction,  the 
stanza  that  had  been  forgotten : 

142 


NEAKEK,  MY  GOD,  TO  THEE 

"Then  with  my  waking  thoughts, 

Bright  with  Thy  praise, 
Out  of  my  stony  griefs, 

Bethel  I'll  raise; 
So  by  my  woes  to  be 
Nearer,  my  God,  to  Thee, 

Nearer  to  Thee." 

With  as  clear  a  voice  as  she  was  able  to  com- 
mand in  her  best  days  she  joined  in  singing 
the  entire  stanza — the  last  she  ever  sang  until 
she  joined  in  the  music  of  the  skies. 

"In  the  battle  of  Fort  Donnelson  a  brave 
little  drummer  bov  had  his  arm  taken  off  bv 
a  cannon  ball.  One  who  visited  the  field  after 
the  battle  was  over  found  him  dying  of  ex- 
haustion through  loss  of  blood ;  but  he  was 
heard  singing,  even  while  his  life-blood  ebbed 
awav, 

'There  let  the  way  appear. 

Steps  unto  heaven : 
All  that  Thou  sendest  me 

In  mercy  given : 
Angels  to  beckon  me 
Nearer,  my  God  to  Thee, 

Nearer  to  Thee.'  " 

It  would  hardly  be  suitable  to  dismiss  our 
consideration  of  this  hymn  without  recalling 
its  asociation  with  the  tragic  death  of  the  late 
President    McKinley.     As    reported    by    Dr. 

143 


HYMNS  THAT  ARE    IMMORTAL 

Matthew  D.  Mann,  the  distinguished  suffer- 
er's attending  i)hysician,  his  last  utterances 
were, 

"  'Nearer,  my  God  to  Thee, 

E'en  though  it  be  a  cross,' 

has  been  my  constant  prayer." 

Nor  will  the  present  generation  ever  forget 
how,  in  memory  of  their  illustrious  dead  and 
as  expressive  of  the  general  yearning  for  a 
sense  of  divine  nearness  and  consolation, 
Christian  assemblies  over  all  the  land  sang 
this   hvmn  in   their  churches   and   memorial 

I- 

services  the  Sabbath  following  the  announce- 
ment of  his  death.  Then  came  the  day  of  his 
funeral,  with  that  solemn  "five  minutes,"  dur- 
ing which,  from  east  to  west  and  from  north 
to  south,  business  of  every  kind  was  suspend- 
ed, the  whirr  of  machinery  hushed,  street  cars, 
steamboats  and  railway  trains  were  halted 
in  their  courses  and  telegraph  instruments 
and  telephone  bells  were  silenced,  while  prac- 
tically the  whole  nation,  with  bowed  heads, 
and  breaking  hearts,  joined  in  singing  their 
fallen  chieftain's  favorite  hymn  and  dying 
prayer, — 

"Nearer,   my  God,  to   Thee." 
It  was  indeed  an  unprecedented  occasion 

144 


NEAKEK,  MY  GOD,  TO  THEE 

of  public  sorrow — a  marvelous  demonstration 
of  the  religious  sentiment  whjoli.  however 
largely  subordinated  to  the  prevalent  com- 
mercialism and  competition  of  the  age,  is  nat- 
ural to  our  lunuanity,  and  will,  in  times  of 
great  stress  and  calamity  at  least,  assert  it- 
self with  emphasis.  It  was  an  equally  unprec- 
edented testimonial  to  the  value  and  popu- 
larity of  the  hymn  we  have  been  considering. 


145 


XIX 

GREATEST  HYMX  ON  PURITY  OF  HEART 

Amoug  the  finest  of  Charles  Wesley's  lyr- 
ical productions  and  the  greatest  lyric  ever 
written  on  the  subject  of  heart-purity  is  the 
hymn  beginning, 

"O  for  a  heart  to  praise  my  God, 
A  heart  from  sin  set  free." 

It  is  based  on  Psalm  51:  10:  "Create  in  me  a 
clean  heart,  O  God ;  and  renew  a  right  spirit 
within  me;"  and  was  published  in  "Hymns 
and  Sacred  Poems/'  1742.  The  saintly  John 
Fletcher,  of  Madeley,  commenting  on  it,  once 
said :  "Here  is  undoubtedly  an  evangelical 
{>ra3'er  for  the  love  which  restores  the  soul 
to  a  state  of  sinless  rest  and  scriptural  perfec- 
tion." 

As  originally  written  the  hymn  contained 
eight  stanzas,  but  as  now  generally  published 
what  were  formerly  the  fifth,  sixth  and 
seventh  stanzas  are  omitted,  the  hymn  being 
quite  complete  without  them,  as  will  be  seen 
from  the  following  commonly  used  text: 

146 


HYMN  ON  PURITY  OP^  HEART 

O  for  a  heart  to  praise  my  God. 

A  heart  from  sin  set  free, 
A   heart  that  always  feels   Thy   blood, 

So  freely  spilt  for  me! 

A  heart  resigned,  submissive,  meek, 

^ly  great  Redeemer's  throne. 
Where  only  Christ  is  heard  to  speak. 

Where  Jesus   reigns  alone. 

O  for  a  lowly,  contrite  heart. 

Believing,  true,   and  clean, 
Which  neither  life  nor  death  can  part 

From  Him  that  dwells  within ! 

A  heart  in  every  thought  renewed. 

And  full  of  love  divine; 
Perfect,  and  right,  and  pure,  and  good, 

A  copy.  Lord,  of  Thine. 

Thy  nature,  gracious  Lord,  impart: 

Come  quickly  from  above; 
Write  Thy  new  name  upon  my  heart, 

Thy  new,  best  name  of  Love. 

Tune — "Ablington." 

That  the  omitted  stanzas  are  unnecessary 
to  the  completeness  of  the  hymn,  and,  if 
retained,  would  impair  rather  than  improye 
it,  will  be  eyident,  we  think,  to  all  who  com- 
pare the  text  as  rendered  aboye  with  the  way 
it  would  read  were  the  following  stanzas 
inserted  immediately  after  stanza  three: 

M7 


HYMNS  THAT  AHE   IMMORTAL 

Thy  tenclor  lionrt  is  still  the  same, 

And  melts  at  human  woe ; 
Jesus,  for  Thee,  distressed  I  am, 

I  want  Thy  love  to  know. 

Mv  heart,  Thou  knowest,  can  never  rest 

Till  Thou  create  my  peace; 
Till,  of  my  Eden  re-possessed. 

From  self  and  sin  I  cease. 

Fruit  of  Thy  gracious  lips,  on  me 

Bestow  that  peace  unknown. 
The  hidden  manna,  and  the  tree 

Of  life,  and  the  white  stone. 

Charles  Wesley  was  a  master  poet  and  John 
Wesley  a  master  critic  of  poetry.  As  a  critic 
Jolin  put  many  a  finisliing  touch  on  his  broth- 
er's productions  without  which  they  would 
have  exhibited  more  imperfections  than  now 
charactej'ize  them.  The  foregoing  hymn  is 
an  instance  of  this  kind.  Charles  wrote,  "O 
for  nn  heart."  and  used  the  expression  '^an 
liearf'  throughout  the  hymn.  John  changed 
it  to  ''a  heart''  throughout.  Charles  wrote, 
''O  for  an  humble,  lowly  heart,"  which  John 
altered  so  as  to  read.  ^'O  for  a  lowly,  contrite 
heart."  Charles  wrote  ''dear  Redeemer's 
throne,"  in  line  two  of  stanza  two,  and  ^'dear- 
est Lord  impart,"  in  line  one  of  the  last 
stanza^  which  John  changed  respectively  to 

148 


JOHN  WESLEY. 


HYMX  OX  PURITY  OF  HEART 

^^great  Redeemer's  throne"  and  ''gracious 
Lord  iDipart.-'  These  alterations  were  made 
by  John  Wesley  in  preparing  the  hymn  for 
his  ''Collection"  published  in  1789. 

The  singing  of  this  hymn  in  the  Spirit  has 
been  the  means  of  leading  many  a  soul  hun- 
gering and  thirsting  after  righteousness  into 
''the  fulness  of  the  blessing  of  the  gospel  of 
Christ."  Its  precious  and  deeply  significant 
words  have  also  dwelt  on  the  lips  of  many  a 
dying  believer,  inspiring  faith,  quickening 
hope,  and  enabling  him  to  shout  in  glorious 
triumph  over  "the  last  enemy."  It  is  one  of 
the  hvmns  destined  to  live  as  long  as  the  crv 
for  inward  purity  finds  place  in  human  hearts 
and  seeks  expression  on  human  lips. 


149 


XX 

A   MATCHLESS   HYMN   ON    PERFECT   LOVE 

Of  tlie  six  thousand  five  hundred  hj^mns 
})rodnced  by  Charles  Wesley,  the  princely 
singer  of  early  Methodism,  none  exceeds  in 
poetic  worth  or  in  the  depth  and  richness  of 
its  spirituality  and  in  genuine  helpfulness 
his  lofty  and  glowing  lyric  on  perfect  love, 
beginning. 

"Love  cli\ine,  all  loves  excelling, 

Joy  of  heaven  to  earth  come  down !" 

It  was  first  given  to  the  public  in  his  ''Hymns 
for  those  that  Seek,  and  those  that  have 
Kedemption  in  the  blood  of  Jesus  Christ," 
1747,  It  soon  became  popular  among  the 
^lethodist  societies,  and  finallv,  bv  genuine 
merit  alone,  won  its  way  to  almost  universal 
favor  throughout  the  English-speaking  world. 
"It  is  one  of  the  most  popular  and  helpful 
hymns,"  says  Mr.  Stead,  ''which,  originating 
in  ^lethodist  hymnody,  have  found  an  hon- 
ored place  in  the  hymn-books  of  almost  every 
other  denomination."     The  late  Rev.  Charles 

150 


HYMN  ON  PERFECT  LOVE 

S.  Robinson,  D.  D..  who  was  one  of  the  fore- 
most hymnologists  of  this  conntry,  dechired 
it  ''one  of  the  noblest  of  all  the  compositions 
of  Rev.  Charles  Wesley;"  Dr.  Nutter  regards 
it  as  "one  of  the  most  valuable  hymns  the 
author  ever  wrote;"  and  the  late  Rev.  Henry 
Ward  Beecher  cherished  it  as  a  special  favor- 
ite. It  is  said  that  no  one  who  ever  heard  the 
great  congregation  in  Plymouth  Church  sing 
"Love  Divine"  is  likely  to  forget  the  soul- 
stirring  effect.  "This  is  one  of  the  hymns  of 
Charles  Wesley,"  says  Mr.  Stead  again, 
"which  enabled  Methodism  to  sing  itself  into 
the  heart  of  the  world." 

The  hvmn  as  published  in  manv  hvmnals 
is  considerably  altered  from  its  original  form, 
some  compilers  having  omitted  the  second 
stanza,  and  others  having  changed  various 
expressions  in  other  stanzas,  in  both  cases 
the  alterations  having  been  made  to  suit  i}\e 
hymn  to  the  doctrinal  bias  of  those  who  made 
them.  The  following  is  the  full  text  of  the 
hvum : 

Love  divine  all  loves  excelling. 

Joy  of  heaven  to  earth  come  down ! 
Fix  in  us  Thy  humble  dwelling; 

All  Thy  faithful  mercies  cro\\Ti. 
Jesus,  Thou  art  all  compassion, 

Pure  unltounded  love  Thou  art; 
Visit  us  with  Thy  salvation  : 

Enter  every  trembling  heart. 


HYMNS  THAT  ARE   IMMORTAL 

Brentbe,  0  breathe  Thy  loving  Spirit 

Into  every  troubled  breast ! 
Let  us  all  in  Tiiee  inherit. 

Let  us  find  that  second  rest. 
Take  away  our  bent  to  sinning ; 

Alj^ha   and  Omega  be ; 
End  of  faith,  as  its  beginning. 

Set  our  hearts  at  liberty. 

Come,  almighty  to  deliver, 

Let  us  all  Thy  life  receive ; 
Suddenly  return,  and  never, 

Never  more  Thy  temples  leave : 
Thee  we  would  be  always  blessing, 

Serve  Thee  as  Thy  hosts  above, 
Fray  and  praise  Thee  without  ceasing, 

Glory  in  Thy  perfect  love. 

Finish  then  Thy  new  creation; 

Pure  and  spotless  let  us  be ; 
Let  us  see  Thy  great  salvation, 

Perfectly  restored  in  Thee: 
Changed  from  glory  into  glory, 

Till  in  heaven  we  take  our  place. 
Till  we  cast  our  crowns  before  Thee, 

Lost  in  wonder,  love,  and  praise. 

Tune — "Beecher." 

The  English  Methodist  Hymn-Book  omits 
the  second  stanza,  ^'arising  probably,"  says 
Mr.  Stevenson,  '^from  tw^o  lines  w^hich  are 
thought  to  be  defective  in  doctrinal  accii- 
rac}^"  Those  lines  are  the  fourth  and  fifths 
the  fourth  line  reading,  "Let  us  find  that  sec- 

152 


HYMN  OX  PERFECT  LOVE 

onrJ  rest,"  and  the  fifth  line,  as  originally 
written,  'Take  away  onr  power  of  sinning." 
American  Methodists  generally  retain  this 
stanza,  with  the  expression,  "power  of  sin- 
ning,'' in  line  5  changed  to  ''bent  to  sinning.'' 
This  is  quite  in  accord  with  the  suggestion 
of  the  Rev.  John  Fletcher,  a  very  judicious 
critic  in  his  day.  who  justified  the  expression 
"second  rest,"  but  took  exceptions  to  the  line, 
''Take  away  our  power  of  sinning,''  as  too 
strong.  His  words  respecting  "that  second 
rest"  are  as  follows :  '-^Ir.  Weslev  savs  sec- 
ond  rest,  because  an  imperfect  believer  enjoys 
a  first  inferior  rest;  if  he  did  not,  he  would 
be  n-o  believer."  Regarding  "Take  away  our 
power  of  sinning''  he  says :  ''Is  not  this  ex- 
pression too  strong?  Would  it  not  be  better 
to  soften  it  bv  saving,  'Take  awav  the  love  of 
sinning?'  Can  God  take  away  from  us  our 
poiccr  of  sinning  without  taking  away  our 
I'ower  of  free  obedience?" 

The  late  Rev.  Charles  S.  Robinson,  D.  D.,  an 
eminent  Presbyterian  divine,  in  his  "Annota- 
tions I^pon  Popular  Hymns,"  ofifers  some  in- 
structive, just  and  interesting  observations 
regarding  the  line,  "Let  us  find  that  second 
rest,"  which  has  been  an  offense  to  so  many. 
We  give  our  readers  the  benefit  of  the  same 
in  the  three  following  paragraphs: 

153 


HYMNS  THAT  ARE    IMMORTAL 

"Come  unto  me,  all  ve  that  labor  and  are 
heavy  laden,  and  I  will  sive  you  rest.  Take 
my  yoke  upon  you  and  learn  of  me;  for  I  am 
meek  and  lowly  in  heart;  and  ye  shall  find 
rest  unto  your  souls."  Matthew  11 :28,  29. 
\Aliat  strikes  us  so  strangely  in  reading  oyer 
these  yerses  is  the  discovery  that  Christ  says 
in  the  beginning,  "I  will  give  you  rest,*'  and 
at  the  end  says,  "Ye  shall  find  rest."  With 
the  one  oft'er  the  rest  seems  to  be  free ;  with 
the  other  it  is  evidently  somewhat  severely 
conditioned.  ^loreover,  the  figures  employed 
seem  paradoxical.  To  propose  to  relieve  a 
man  who  labors  by  putting  on  him  a  yoke, 
or  to  help  a  man  who  is  heavy  laden  by  impos- 
ing upon  him  a  burden,  gives  chance  for  a 
cavil. 

The  explanation  is  found  by  assuming  that 
in  Christian  experience  there  are  tico  rests, 
and  not  iust  one  onlv.  The  first  of  these  is  a 
gift,  the  other  is  an  acquisition.  These  differ 
quite  elementally.  They  do  not  arrive  in  the 
same  moment.  They  are  not  precisely  of  the 
same  character.  They  certainly  do  not  come 
in  anvthino:  like  the  same  wav.  The  second 
one  is  never  attained  till  the  first  has  pre- 
ceded it.  The  first  may  be  reached  years 
before  the  other  is  made  perfect,  so  that  it 


154 


HYMN  ON   PERFECT  LOVE 

mijrlit  liappen  that  the  spiritual  distance  be- 
tween them  sliall  be  sorrowfully  wide. 

In  the  second  stanza  of  the  hymn  now  be- 
fore us*  is  the  line,  "Let  us  find  thv  promised 
rest."  This  is  singularly  unfortunate,  for  a 
fine  allusion  is  lost.  But  singers  insisted  that 
they  did  not  know  what  the  original  line 
meant.  Charles  Wesley  wrote  quite  scriptur- 
al ly,  but  we  miss  the  point.  For  he  said,  "Let 
us  find  that  second  rest."  He  was  singing  of 
what  this  verse  [of  Scripture]  puts  second. 
Xo  one  can  appreciate  accurately  the  signifi- 
cance of  these  figures  who  prefers  to  sing  it. 
"Let  us  find  Thy  promised  rest."  The  yoke 
comes  before  the  doctrine :  "Take  my  yoke 
upon  you,  and  learn  of  me."  Therein  lies 
our  duty.  The  rest  still  waits.  Yoke-bearing 
leads  to  it.  Jesus  ofters  His  hand  to  you. 
Repent  of  all  your  sins ;  put  your  simple  trust 
in  Him.  Then  comes  a  new  endeavor.  Sub- 
mit at  once  to  Christ's  will.  "If  any  man 
will  do  His  will,  he  shall  know  of  the  doc- 
trine." The  doing  is  ahead  of  even  the  doc- 
trine. Make  one  simple  resolve  in  dej^endence 
on  divine  aid :  "Here  I  give  myself  to  Thee ! 
I  put  on  the  yoke.  I  go  joyfully  under  the 
burden  I" 

This  hymn  has  often  been  used  with  p'cat 

*As  found  in  Laude?  Domini. 


hy:\ixs  that  are  immortal 

effectiveness  in  revival  services,  at  camp- 
meetings  and  in  various  conventions  and  asso- 
ciations, Tiie  writer  recalls  instances  of  this 
kind  in  which  the  singing  of  the  hymn  has 
heen  accompanied  witli  manifestations  of  the 
divine  presence,  reminding  one  of  the  scenes 
on  the  day  of  Pentecost. 

A^arious  portions  of  the  hymn  have  also 
been  greatly  blessed  to  the  comfort  and  in- 
sj)iration  of  dying  saints.  A  devout  Method- 
ist woman  of  England  who,  in  accordance 
with  strong  presentiments,  had  lost  several 
relatives  and  was  herself  nearing  the  grave, 
when  asked  by  her  sorrowing  husband,  ''Is 
Jesus  precious?"  remained  silent  for  a  little, 
and  then,  summoning  all  her  strength,  sang: 

".Jesus,   Thou   art   all  compassion ; 
I*ure  unbounded  love  Thou  art ; 
Visit  us  witli  Thy  salvation ; 
Enter  every  trembling  heart." 

After  this  she  continued  praising  God  and 
singing  her  notes  of  triumph  until  the  pearly 
gates  ojjened  and  her  ransomed  s])irit  passed 
into  tlie  Telestial  City. 

Anothci*  holv  woman  as  she  came  to  the 
crossing  of  Jordan  testified,  saying. 

"Angels  now  are  hovering  round  us," 

156 


HYMN  OX  PERFECT  LOVE 

and  then  sang-,  as  her  last  note  of  triumph  on 
earth, 

"Finish  then  Thy  new  creatior, 

Pnre  and  spotiess  let  us  be; 
Let  us  see  Tliy  great  salvation, 

Perfectly  restored  in  Thee : 
Changed  from  glory  into  glory. 

Till  in  heaven  we  take  our  place, 
Till   we   cast   our   crowns   before   Thee, 

Lost  in  wonder,  love  and  praise." 

How  beautiful  to  pass  frou;  the  singing  of 
such  a  victorious  strain  on  earth  to  the  sing- 
ing of  the  "'new  song''  before  the  throne  of 
God  in  heaven ! 


157 


Resignation 


159 


XXI 

THE   CROSS-BEAREK'S    HYMX 

''If  -my  uiau  will  come  after  me.  let  biin 
deny  himself,  and  take  up  his  cross  daily,  and 
follow  me'-  (Luke  0:23),  are  the  words  in 
which  the  Son  of  God  announced  for  all  time 
the  terms  of  Christian  discipleshi}).  Xor  has 
any  hymn  of  the  Christian  Church  ever  em- 
bodied more  fully  the  spirit  of  that  announce- 
ment than  Henrv  Francis  Lvte's 

"Jesus,  I  my  cross  have  taken. 
All  to  leave,  and  follow  Thee."' 

^Ir.  Lyte,  the  author  of  the  liyniii,  was  born 
near  Kelso,  Scotland,  in  ITOo.  His  father 
was  a  caj)tain  in  the  English  arn.y,  and  both 
the  father  and  mother  died  while  Henry  was 
a  child.  Friends  took  charge  of  his  educa- 
tion, and  he  was  finally  sent  to  Trinity  Col- 
lege, Dublin,  from  which  he  was  graduated  in 
1814.  He  had  ]»urposed  to  devote  himself  to 
the  practice  of  medicine,  and  studied  with 
that  end  in  view  for  a  time.  In  ISl.").  however, 
he  chaoged  his  plans,  decided  to  preach  the 

i6i 


HY>rXS  THAT  ARE   IMMORTAL 

oospel,  and  was  ordained  to  the  ministry  of 
the  Church  of  England.  "A  dreary  Irish 
curacy"  was  the  fiehl  of  his  earliest  minis- 
terial labors,  in  which  he  served  as  faithfully 
and  efficiently  as  could  be  expected  of  one 
Avho,  although  sincere,  had  never  known  by 
experience  the  regenerating  power  of  the  gos- 
pel of  Clirist. 

In  1818  Mr.  l^yte  was  the  subject  of  a  re- 
markable spiritual  change,  brought  about 
tlirough  an  equally  remarkable  providence. 
A  brother  clergyman  who  was  near  the  gates 
of  death  desired  Mr.  Lyte's  counsel  in  spirit- 
ual matters,  and  sent  for  him.  The  sick  man, 
according  to  Mr.  Lyte's  account,  was  a  minis- 
ler  of  exalted  standing,  whose  life  had 
abounded  in  benevolence,  good  sense  and 
Christian  virtues.  Still,  the  approach  of  death 
convinced  him  that  he  was  not  at  heart  a 
Christian — that  he  was  without  that  expert- 
mental  knowledge  of  Christ  which  alone  gives 
])eace,  hope  and  victory  in  a  dying  hour.  He 
insisted  upon  their  examining,  in  the  light  of 
Ihe  Xew  Testament,  the  grounds  of  Christian 
faith  and  hope,  and  the  means  by  which  sin- 
ful men  may  be  prepared  for  the  bliss  of 
heaven. 

"My  blood  almost  curdled,"  wrote  Mr.  Lyte, 
as  quoted  by  his  daughter,  Mrs.  Hogg,  "to 

162 


THE  cross-beaki:r's  hymn 

hear  the  dying  man  dechire  and  prove^  with 
irrefutable  clearness,  that  both  he  and  T  had 
been  ntterlv  mistaken  in  the  means  we  had 
adopted  for  oui*selves,  and  recommended  to 
others,  if  the  explanatory  epistles  of  St.  Paul 
were  to  be  taken  in  their  plain  and  literal 
sense.  You  can  hardly,  perhaps,  conceive  the 
effects  of  all  this,  proceeding  from,'  such  a 
man,  in  such  a  situation."  As  a  result  of  their 
conference  the  dying  minister  found  "peace 
with  God  through  our  Lord  Jesus  Christ,'^ 
and  the  living  minister  went  forth  a  renewed 
man,  having  experienced  a  change  akin  to  that 
Avrought  upon  Isaiah  the  prophet  when  by 
seraphic  ministry  his  lips  were  touched  with 
hallowed  fire.  This,  according  to  one  account, 
was  the  occasion  which  led  to  the  writing  of 
"Jesus,  I  my  cross  have  taken."  the  original 
motto  of  which  was  the  words  of  St.  Peter  to 
his  Master,  "Lo,  we  have  left  all  and  followed 
thee." 

The  following  is  the  full  text  of  the  hymn, 
which  is  one  of  the  Church's  noblest  lyrics, 
and  should  be  thoroughlv  memorized  bv  all 
Christians,  especially  by  those  who  are 
young : 

Jesus,  I  my  cross  have  taken, 
All  to  leave  and  follow  Thee : 

163  -    J 


HYArXS  THAT  ARE   IMMORTAL 

Nakpri,  poor,  despised,  forsaken, 
Tliou  rroiii  lience  mj^  all  slialtbe. 

Perish,    every    fond   ambition, 

All  I've  sought,  or  hoped,  or  known, 

Yet  how  rich  is  my  condition ! 
God  and  heaven  are  still  my  own. 

Let  the  world  despise  and  leave  me; 

They  have  left  my  Savior  too : 
Human  hearts  and  looks  deceive  me; 

Thou  art  not,  like  them,  untrue ; 
And  while  Thou  shalt  smile  upon  me, 

God  of  wisdom,   love,  and  might, 
Foes  may  hate,  and  friends  disown  me; 

Show  Thy  face,  and  all'  is  bright. 

Go,  then,  earthly  fame  and  treasure; 

Come,  disaster,  scorn  and  pain  ; 
In  Thy  service  pain  is  pleasure; 

With  Thy  favor  loss  is  gain. 
I  have  called  Thee,  Abba,  Father, 

I  have  set  my  heart  on  Thee : 
Storms  may  howl,   and  clouds  may  gather, 

All  must  work  for  good  to  me. 

Man  may  trouble  and  distress  me; 

'Twill  but  drive  me  to  Thy  breast: 
Life  with  trials  hard  may  press  me ; 

Heaven  will  bring  me  sweeter  rest. 
O  'tis  not  in  grief  to  harm  me, 

While  Thy  love  is  left  to  me! 
O  'twere  not  in  joy  to  charm  me, 

Were  that  joy  unmixed  with  Thee! 

Soul,  then  know  thy  full  salvation ; 
Rise  o'er  sin,  and  fear,  and  care; 

164 


■inE   CROSS-BEARER'S   HYMN 

Joy  to  find   in  eveiy  station 

Sometlnnc:  still  to  do  or  bear. 
Think  what  Spirit  dwells  within  thee : 

Think  what  Father's  smiles  are  thine ; 
Think  that  Jesus  died  to  win  thee : 

Child  of  heaven,  canst  thou  repine? 

Haste  thee  on  from  grace  to  glory, 

Armed  by  faith,  and  winged  by  prayer; 
Heaven's  eternal  day's  before  thee, 

God's  own   hand   shall  guide   thee  there. 
Soon  shall  close  thy  earthly  mission, 

Soon  shall  pass  thy  pilgrim  days; 
Hope  shall  change  to  glad  fruition, 

Faith  to  sight,  and  prayer  to  praise. 

Tune — '"Disciple." 

This  hymn  has  been  a  great  source  of  in- 
spiration and  strength  in  hundreds  of  cases 
to  those  who  were  oppressed  and  persecuted 
for  their  adherence  to  Christ,  His  truth,  and 
His  cause.  Tlie  writer  recalls  with  much  viv- 
idness instances  in  which,  during  his  early 
years,  it  was  sung  in  his  hearing  during  such 
circumstances,  his  own  godly  parents  some- 
times being  among  the  oppressed  but  victori- 
ous singers.  He  owes  much,  too,  to  the  influ- 
ence of  this  noble  production  in  the  direction 
of  strengthening  and  developing  his  own  faith 
while  little  more  than  a  child  in  years  and 
Christian  experience.  Much  as  he  esteemed  it 
then,    however,    its    sentiments   have   become 

165 


HYMNS  THAT  ARE   IMMORTAL 

more  j)recious  with  the  passing  years,  and 
to-dav  its  value  is  appreciated  more  than  ever, 
ir  is  expressive  of  that  rugged  type  of  Chris- 
tianity exhibited  by  the  glorious  company  of 
Ihe  apostles  and  the  noble  army  of  the  mar- 
tyrs, A^'hose  self-denial,  resignation,  purity  of 
character,  and  unswerving  lovaltv  to  truth 
and  duty  challenge  our  em;ulation. 

We  read  some  years  ago  an  account  of  an 
intelligent  young  woman,  the  daughter  of  a 
notorious  infidel,  T^ho,  in  a  revival  meeting 
near  lier  father's  home,  gave  her  heart  to  God 
and  became  soundly  converted.  On  being 
ap})rised  of  her  action  the  father  called  her  to 
account  for  it,  whereupon  she  ^^ witnessed  a 
good  profession,"  and,  with  much  courage  and 
great  blessing,  declared  what  God  had  done 
for  her  soul.  The  father,  unable  to  dissuade 
lier  from  her  well -chosen  course  by  gentler 
means,  at  length  became  enraged  and  in- 
formed her  that,  unless  she  would  give  up  her 
profession  of  Christ  and  her  relation  with 
His  people,  she  must  leave  his  home  forever. 

Terrible  as  was  the  situation  now  confront- 
ing her,  she  remembered  how  her  divine  Mas- 
ter had  said,  '^ Whoso  loveth  father  or  mother 
more  than  me  is  not  worthy  of  me,"  and,  in- 
stead  of  weakening,  her  faith  grew  stronger 
and  her  purpose  more  firm.     The  time  soon 

1 66 


THE  CROSS-BEAKER'S   HYMN 

passed  within  wbicli  her  fatlier  demanded  a 
final  decision,  and  when  the  critical  moment 
came  she  made  no  hesitation,  but,  assuring 
her  father  of  her  love  and  respect  for  him, 
assured  him  also  of  her  supreme  love  for  the 
Christ  who  had  redeemed  her,  and  of  her  pur 
pose  to  cleave  to  Him  at  all  hazards.  This 
was  a  signal  for  the  culmination  *  of  the 
father's  wrath.  She  was  unceremoniously 
commanded  to  leave  the  home  she  held  so 
dear,  and  to  darken  its  doors  no  more.  This 
onlv  seemed  to  nerve  her  for  more  heroic  de- 
votion  to  the  Christ  she  loved  above  all  others. 
Gathering  up  such  of  her  effects  as  it  was  con- 
venient to  take  with  her,  she  tenderly  and 
through  tears  bade  her  father  and  the  rest  of 
the  family  farewell,  and  started  out,  like 
Abraham,  when  he  set  out  upon  his  pilgrim- 
age ''not  knowing  whither  he  went." 

The  sun  was  going  down,  and,  as  the  shad- 
ows of  night  began  to  thicken  around  her,  she 
turned  aside  into  a  grove,  not  far  from  the 
home  she  had  left,  to  pray  for  divine  grace  and 
guidance.  God  came  to  her  heart  in  great 
blessins:,  and  so  confident  did  she  become  that 
He  would  make  all  her  trouble  work  for  her 
good  that  she  soon  found  herself  singing: 

".Tesns,  T  my  cross  have  taken, 
All  to  leave  and  follow  Thee ; 

167 


HYMNS  THAT  ARE   IMMORTAL 

Naked,  poor,  despised,  forsaken, 
Tliou  from  hence  my  all  shalt  be. 

Perish  every  fond  ambition. 
Air  I've  sought,  or  hoi)ed,  or  known, 

Yet  how  rich  is  my  condition! 

God  and  heaven  are  still  my  own." 

As  she  sang  on  amid  the  gathering  shades, 
little  thinking  that  any  but  God  was  listen- 
ing to  her  heartfelt  strains,  the  gentle  breeze 
wafted  the  voice  of  the  singer  toward  the  home 
she  had  left,  where  it  fell  upon  the  ear  of  the 
father  who  had  so  inhumanly  banished  her 
from  beneath  his  roof.  As  he  listened  the 
voice  of  the  singer  was  soon  recognized,  the 
words  of  the  hymn  became  distinguishable, 
strange  emotions  struggled  for  expression, 
and  soon  his  feet  were  bearing  him  in  the 
direction  from  whence  came  those  notes  of 
holy  but  pathetic  song.  In  a  short  time  the 
banished  daughter  was  in  the  tender  embrace 
of  the  relenting  father,  who,  amid  tears  and 
sobs,  withdrew  the  ban  he  had  pronounced, 
entreated  her  forgiveness,  led  her  back  to  the 
home  she  had  left,  pledged  her  full  liberty  to 
serve  and  worship  God  as  she  might  please, 
besought  her  prayers,  and  was  soon  himself 
rejoicing  in  a  Savior's  pardoning  love. 


i68 


XXII 

schmolck'vS  hymx  of  resignation 

One  of  the  teiiderest  and  ST^-eetest  of  all 
hymns  of  submission  to  the  divine  will  was 
ori.2,inally  written  in  the  German  bj  Pastor 
Benjamin  Schmolck,  of  Schweidnitz,  about 
1704,  under  the  title,  "Mein  Jesu,  wie  du 
Willst,"  and  has  been  beautifully  rendered 
into  English  by  Miss  Jane  Borthwick,  of 
Scotland,  her  translation  beginning, 

"My  Jesus,  as  Thou  wilt, 

Oh,  may  Thy  will  be  mhie." 

It  is  founded  upon  Mark  14 :  86 :  "And  He 
said,  Abba,  Father,  all  things  are  possible 
unto  Thee;  take  away  this  cup  from  me: 
nevertheless,  not  what  I  will,  but  what  Thou 
wilt."  The  hymn  is  thoroughly  saturated 
with  the  spirit  of  these  remarkable  utter- 
ances, called  forth  from  our  Lord  by  His 
agony  in  Gethsemane,  and  so  is  marvelous  in 
its  adaptation  to  expressing  "the  fellowship 
of  His  sufferings." 

"The  thought  is  this,"  savs  Dr.  Robinson : 

169 


hymNkS  that  ake  immortal 

"We  are  to  beud  our  wills  in  simple  submis- 
sion to  Jesus,  as  Jesus  bent  His  to  that  of  the 
Father,  and  so  settle  the  restive  iuquisitive- 
ness  of  our  wounded  sensibility.  There  is  no 
other  way  of  dealing-  with  such  a  question  as 
this.  We  must  take  the  testimony  of  those 
who  have  had  experience  of  trouble.  Four 
eminent  men  there  have  been  whose  history 
in  this  particular  is  before  us.  Aaron  was 
terribly  bereaved  when  his  sons  were  struck 
dead ;  but  ^he  held  his  peace.-  That  was  well, 
but  Eli  took  higher  ground;  he  spoke;  he 
said :  'It  is  the  Lord,  let  Him  do  what  seem- 
eth  good  in  His  sight.^  But  Job  reached  a 
step  higher  than  either;  he  spoke  not  only  in 
the  language  of  submission,  but  of  thankful- 
ness :  'Blessed  be  the  name  of  the  Lord.'  And 
then,  from  a  far  more  serene  and  elevated 
summit  of  satisfaction,  Paul,  that  grand  old 
Apostle  of  the  New  Testament,  declared,  'I 
take  pleasure  in  my  distresses.'  This  ought 
to  be  enough  for  us." 

The  hymn  in  the  German  and  also  in  its 
translated  form  contains  seven  stanzas,  of 
Avhich  only  the  first,  fourth  and  last  usually 
appear  in  the  hymnals.  The  translation  is 
from  "Hymns  from  the  Land  of  Luther,"  a 
volume  of  translations  from  the  German,  pro- 
duced and  published  by  Miss  Borthwick  and 

170 


UYMX  OF  KE8IGXATI0X 

lier  sister,  Mrs.  Eric  J.  Findlater.  The  fol- 
lowing- are  the  stanzas  comprising  the  liynm 
as  now  generally  sung  in  English-speaking 
chnrehes : 

My  Jesus,  as  Thou  wilt : 

0  may  Thy  will  be  mine ; 
Into  Thy  hand  of  love 

1  would  my  all  resign. 

-    Through  sorrow  or  through  joy, 
Conduct  me  as  Thine  own, 
And  help  me  still  to  say. 

"My  Lord,  Thy  will  be  done." 

My  Jesus,  as  Thou  wilt : 

Though  seen  through  many  a  tear, 
Let  not  my  star  of  hope 

Grow  dim  and  disappear. 
Since  Thou  on  earth  hast  wept 

And  sorrowed  oft  alone. 
If  I  must  weep  with  Thee, 

My  Lord,  Thy  will  be  done. 

My  Jesus,  as  Thou  wilt : 

All  shall  be  well  for  me: 
Each  changing  future  scene 

I  gladly  trust  with  Thee. 
Straight  to  my  home  above, 

I  travel  calmly  on. 
And  sing  in  life  or  death. 

":My  Lord,  Thy  will  be  done.^ 

T  c  NE — "  Je  vvett.** 

Benjamin    Schmolck.    the    author   of  these 

171 


HYMXS  THAT  ARE   IMMORTAL 

pathetic  and  beautiful  lines,  was  a  Silesian/ 
born  in  Brauchitsclidorf,  December  21,  1672, 
and  was  one  of  the  most  popular  hymn- 
writers  of  Germany.  He  graduated  at  Leip- 
sic  in  1G07;  became  pastor  of  Schweidnitz  in 
1702;  remained  faithful  to  the  numerous  and 
grave  responsibilities  of  this  position  until 
1737,  when,  upon  the  anniversary  of  his  wed- 
ding, February  twelfth,  he  entered  into  final 
rest.  The  Schweidnitz  parish  was  large,  and 
Schmolck's  responsible  and  laborious  posi- 
tion was  rendered  the  more  difficult  by  the 
machinations  of  the  Jesuits,  who  secretly 
sought  to  counterwork  his  efforts.  It  is  said, 
however,  that  the  earnestness  of  his  labors 
and  the  sweetness  of  his  disposition  not  only 
won  for  him  the  hearts  of  his  parishioners, 
but  disarmed  the  Jesuits  as  well. 

"That  pious  German  pastor,  Benjamin 
Schmolck  is  an  example  of  how  a  hymn  is 
written,"  says  Dr.  Arthur  T.  Pierson.  "A 
fire  raged  over  his  parish  and  laid  in  ruins 
his  church  and  the  homes  of  his  people.  Then 
God's  Angel  of  Death  took  wife  and  children, 
and  only  graves  were  left.  Then  disease 
[paralysis]  smote  him  and  laid  him  pros- 
trate; then  blindness  took  the  light  of  his 
eves  awav, — and  under  all  this  avalanche  of 
ills  Schmolck  dictated  these  words."    His  be- 

172 


HYMN  OF  RESIGNATION 

reavements  appear  to  have  suggested  the 
words, 

•'Into  Thy  hand  of  love 
I  would  my  all  resign ;" 

his  blindness  to  have  called  out  the  expres- 
sions, 

"Through  sorrow  or  through  joy, 
Conclucl  me  as  Thine  own," 

and 

"Let  not  my  star  of  hope 
Groio  dim  and  disappear!" 

while  the  breaking  up  of  his  home  and  the 
palsying  of  his  body  seeni  to  have  suggested 
the  stanza, 

"Then  to  my  home   above 
I  travel  calmly  on, 
And  sing  in  life  or  death, 

'My  Lord,  Thy  will  be  done!'  " 

As  suggested  by  Mr.  Pierson  the  italicised 
words  refer  to  his  various  afflictions.  The 
foregoing  facts  regarding  the  circumstances 
out  of  which  this  remarkable  hymn  grew  help 
us  the  better  to  understand  and  appreciate 
its  significance.  It  is  preeminently  a  hymn 
for  those  experiencing  the  disappointments 
and  adversities  of  life;  for  seasons  of  be- 
wildering calamity  and  distress;  for  times  of 

173 


HYMNS  THAT  ARE  IMMORTAL 

bereavement  and  desolation  of  spirit;  for  the 
sick  room,  and  the  hour  when  the  shadows 
of  death  are  gathering. 

Dr.  Duffield,  in  his  ''English  Hymns,"  re- 
fers to  the  fact  of  this  hymn  having  been  a 
favorite  with  the  late  Dr.  T.  H.  Skinner,  as 
follows :  ^'  'As  the  olive  did  not  vield  its  oil 
before  it  was  bruised/  so,  sav  the  rabbis,  'Is- 
rael never  produced  the  fruits  of  righteous- 
ness before  the  affliction  of  God  came  upon 
them.'  Perhaps  it  was  from  some  such  sense 
of  the  nature  of  the  divine  discipline  that 
this  hvmn  was  so  «rreat  a  favorite  with  the 
late  Dr.  T.  H.  Skinnei^  of  Union  Theological 
Seminary." 

The  hymn  certainly  breathes  the  sjurit  en- 
joined by  the  author  of  the  Epistle  to  the 
IIebre\vs  when  he  says,  "My  son,  despise  not 
thou  the  chastening  of  the  Lord,  nor  faint 
when  thou  art  rebuked  of  Him :  for  whom  the 
Lord  loveth  He  chasteneth,  and  scourgeth 
every  son  whom  He  receiveth." 


174 


XXIII 

THY   WILL   BE   DONE 

Another  boautifiil  and  widely  used  hymn 
breathing  (juite  the  same  spirit  of  meek  and 
trustful  submission  to  the  diyine  will  as 
Schmolck's  pathetic  hymn  of  resignation  is 
Charlotte  Elliott's  '^Thy  Will  be  Done," 
which  ai)pears  in  most  hym;uals,  but,  unfor- 
tunately, with  two  stanzas  omitted.  The  fol- 
lowing is  the  hymn  in  full : 

My  God  and  Father,  wbilo  I  stray 
Far  from  my  home  on  life's  rough  way, 
O  teach  me  from  my  heart  to  say, 
Thy  will  be  done. 

Though  (lark  my  path  and  sad  my  lot, 
Let  me  be  still  and  murmur  not, 
But  breathe  the  prayer  divinely  taught, 
Thy  will  be  done. 

Wliat  though  in  lonely  grief  I  sigh 
For  friends  1  eloved  no  longer  nigh, 
Submissive  still'  would  I  reply, 
Thy   will  be  done. 

Though  Thou  hast  called  r.ie  to  resign 

What  most  I  prized,  it  ne'er  was  mine,  ^ 


HY:\rX^^  THAT  ARE    IMMORTAL 

I  have  but  yielded  what  was  Thine 
Thy  will  be  done. 

Should  grief  or  sickness  waste  away 
My  life  in  premature  decay, 
Father  divine,  I  still  would  say, 
Thy  will  be  done. 

If  but  my  fainting  heart  be  blessed 
With  Thy  sweet  Spirit  for  its  guest, 
My  God,  to  Thee  I  leave  the  rest: 
Thy  will  be  done. 

Renew   niy  will  from  day  to  day, 
Blend   it  with  Thine  and  take   away 
All  that  now  makes  it  hard  to  say. 
Thy  will   be  done. 

Tune — "Herbert." 

Commenting  on  this  liymn  Mr.  Stevenson 
says:  "The  pious  author,  during  her  long  life 
of  more  than  fourscore  years,  outlived  most 
of  lier  friends.  Her  own  brother  Henry,  she 
had  hoped  would  have  survived  her,  and  min- 
istered to  her  in  her  last  hours,  but  when  in 
1865  he  died  before  her,  her  gentle  spirit 
quailed  under  the  bereavement.  She  often 
said  his  removal  changed  the  aspect  of  her 
life,  yet  she  meekly  submitted  to  the  heavy 
stroke  from  her  loving  Father's  hand,  and  she 
sang  in  the  language  of  the  tw^o  omitted 
\erses  of  this  hvmn : — 

176 


THY  WILL  BE  DONE 

*Wlmt  tlion£:li  in  lonoly  grief  I  sigh 
For  friends  beloved  no  longer  nigh. 
S*5ubnHssive  still   wonld    I   reply. 
Tliy  will  be  done. 

'Tliough  Tbou  bast  called  luo  to  resign 
Wbat   most   I   prized,   it  ne'er  was   mine, 
I  bave  but  yielded  w  bat  was  Tbine, 
Tby  v.ill  be  done.' 

It  was  not  justice  to  the  author  to  omit  these 
verses.-' 

In  some  collections  the  latter  of  these 
stanzas  is  retained,  but  altered  slightly  with 
a  view  to  adapting  it  better  to  general  use. 
The  altered  form  is, 

"If  Thou  shouUlcfit  call  me  to  resign," 

in  line  one,  and  in  line  three, 

"/  0]ily  yield  Thee  what  is  Thine.*' 

These  alterations  in  no  material  degree 
change  the  sense,  while  they  relieve  the 
stanza  of  expressions  rather  too  personal  for 
public  use.  The  hymn  is  a  gem  with  which 
all  Christians  should  be  familiar,  and  which, 
with  its  usually  omitted  stanzas,  is  worthy  of 
[I  place  in  every  collection  of  Christian 
hymns. 


1/7 


Guidance 


179 


XXIV 

LEAD,  KINDLY  LIGHT 

Lead,  kindly  Light,  amid  the  encircling  gloom, 

Lead  Thou  me  on ; 
The  night  is  dark,  and  I  am  far  from  home ; 

Lead  Thou  me  on : 
Keep  Thou  my  feet ;  I  do  not  ask  to  see 
The  distant  scene, — one  step  enough  for  me. 

I  was  not  ever  thus,  nor  prayed  that  Thou 

Shouldest  lead  me  on ; 
I  loved  to  choose  and  see  my  path :  but  now 

Lead  Thou  me  on. 
I  loved  the  garish  day,  and,  spite  of  fears. 
Pride  ruled  my  will :  remember  not  past  years. 

So  long  Thy  power  hath  blessed  me,  sure  it  still 

Will  lead  me  on 
O'er  moor  and  fen,  o'er  crag  and  torrent,  till 

The  night  is  gone; 
And  with  the  morn  those  angel  faces  smile. 
Which  I  have  loved  long  since,  and  lost  awhile. 

Tune — •"Lux  Benigna." 

It  may  be  safely  asserted  that  no  lyric  ever 
written  expressing  the  yearning  of  a  soul  per- 
plexed and  troubled  for  divine  illumination 
and  guidance  surpasses  the  foregoing  in  gen- 

i8i 


HYMNS  THAT  ARE  IMMORTAL 

nine  pathos  and  poetic  worth.  Although 
never  intended  bv  its  author  for  use  as  a 
hynm,  and  subject  as  it  is  on  some  accounts 
to  criticism  when  admitted  to  a  place  in  the 
hymnody  of  the  church,  still  it  possesses 
other  elements  which  so  highly  recommend  it 
as  a  lyric  for  devotional  use  that  it  has  won 
its  wav  into  the  foremost  hvmnals  of  our 
time  and  to  a  popularity  not  exceeded  by  any 
other  hymn  of  its  class. 

The  hymn  is  commonly  spoken  of  as  hav- 
ing been  written  by  Cardinal  Newman,  and 
therefgre  as  a  Roman  Catholic  production, 
which,  with  a  certain  class,  is  a  sufficient 
ground  for  its  condemnation.  If  it  were  true 
that  a  Roman  Catholic  produced  it,  that  of  it- 
self should  be  no  barrier  to  its  admission  into 
the  hymnody  of  Protestant  churches,  provid- 
ing its  intrinsic  merits  entitle  it  to  such  rec- 
oo'uition  and  use.  Most  Protestant  hvmnals 
of  our  day  include  productions  from  such 
writers  as  Bernard  of  Clairvaux,  Bernard  of 
Cluny,  Maurus  Rabanus.  Thomas  of  Celano, 
Francis  Xavier,  Madame  Guion  and  Freder- 
ick William  Faber,  all  of  whom  were  Roman 
Catholics;  yet  those  hymns  are  among  the 
choicest  portions  of  devotional  literature 
which  have  come  to  us  from  bygone  genera- 
tions. 

182 


LEAD,  KINDLY  LIGHT 

But  '^Lead,  Kindly  Light,"  was  not  written 
bv  a  Koiiiau  ('atliolic.    Nor  was  it  written  bv 

t.  t. 

Cardinal  Newman,  but  bv  John  Henrv  New- 
man,  of  the  Church  of  England,  some  dozen 
years  before  he  became  a  Romanist,  and  more 
than  thirty  years  before  he  was  made  a  Car- 
dinal.  He  declares  emphatically  in  his  Apol- 
ogia Pro  Vita  Sua,  which  is  a  history  of  his 
religious  o])inions,  that  at  the  time  of  writing 
the  hymn  he  had  no  thought  of  leaving  the 
Church  of  England.  Moreover,  in  his  later 
years  he  declared  that  the  hymn  did  not  rep- 
resent his  feelings  as  a  Roman  Catholic,  add- 
ing,  with  a  quaint  and  quiet  smile,  ''For 
we  Catholics  believe  we  have  found  the  light." 
John  Henry  Newman  was  born  in  London, 
England,  February  21,  1801.  When  less  than 
sixteen  years  of  age  he  entered  Trinity  Col- 
lege,  Oxford,  where  he  won  a  scholarship  two 
years  later,  and  took  his  degree  in  1820.  In 
1822  lie  was  elected  to  a  fellowship  at  Oriel 
College,  at  that  time  the  highest  distinction 
of  Oxford  scholarship.  This  advancement 
brought  him  into  touch  with  many  of  the  most 
distinguished  men  of  the  time.  Among  them 
was  Edward  Bouverie  Pusev,  then  also  a  fel- 
low  at  Oriel,  with  whom  Newman  was  later  to 
be  m;ost  closely  associated  in  originating  and 
promoting  the  famous  Oxford  Movement.    In 

'83 


HYMNS  THAT  ARE  IMMORTAL 

3821  lie  took  Deacon's  Orders  and  continued 
with  his  college  duties  the  curacy  of  St. 
Clement's  church.  In  1828  he  became  vicar 
of  St.  Mary's,  where  he  exercised  a  powerful 
influence  over  the  young  men  of  the  Univer- 
sity in  favor  of  High  Church  principles.  He 
took  a  leading  part  in  the  Tractarian  or  Ox- 
ford Movement.  Of  the  ninety  tracts  written 
in  furtherance  of  the  Movement,  twenty-nine, 
including  the  famous  ''Xo.  90,"  which  closed 
the  series,  were  the  products  of  his  pen.  The 
publication  of  this  Tract  brought  on  a  fierce 
controversy  between  Newman  and  his  fi'iends 
among  the  dignitaries  of  the  Church.  They 
finally  requested  him  to  retract  its  contents. 
He  refused  to  do  tliis,  but  consented  to  dis- 
continue its  circulation.  His  prestige  began 
to  decline,  various  events  took  place  which 
tended  to  alienate  him  from  the  Church  in 
Avhich  he  had  risen  to  such  high  distinction, 
and,  four  years  after  the  writing  of  Tract 
Ninety,  he  connected  himself  with  the  Church 
of  Rome — driven  to  this  extremity,  according 
to  those  critics  who  sympathized  with  his  ac- 
tion, ''by  the  narrowness  of  English  Church- 
men." The  Romish  ecclesiastics  gave  him  en- 
thusiastic welcome,  advanced  him  from  one 
position  to  another,  and  finally  in  1879  gave 
him  a  Cardinal's  hat.     He  died  in  1890. 

184 


LEAD,  KINDLY  LIGHT    ' 

"Le«ad.  kindly  Light"  was  written  June  16, 
1833,  while  the  author  was  en  route  fi'om  Pa- 
lermo to  Marseilles,  on  board  an  orange  boat 
becalmed  for  a  week  in  the  Straits  of  Boni- 
facio. He  has  given  a  full  account  of  those 
conditions  in  the  Church  at  home  which  op- 
pressed and  troubled  him,  and  of  his  own 
weakness,  loneliness,  agitation  and  grave  per- 
plexity, at  the  time  he  wrote  these  immortal 
lines,  in  his  Apologia  Pro  Vita  Sua^  pages  32- 
35,  American  edition  of  1893,  with  a  further 
reference  to  the  same  event  on  pages  118  and 
110.  This  account  is  intensely  interesting, 
but  too  long  for  reproduction  here  in  full. 
We  give  the  following  brief  extracts  only : 

"At  this  time  I  was  disengaged  from  col- 
lege duties  *  *  *  and  was  easily  persuaded 
to  join  Hurrell  Froude  and  his  fathei*,  who 
were  going  to  the  south  of  Europe  for  the 
health  of  the  former.  *  *  *  I  went  down  at 
once  to  Sicily,  *  *  *  struck  into  the  middle 
of  the  island,  and  fell  ill  of  a  fever  in  Leon- 
forte.  My  servant  thought  I  was  dying,  and 
begged  for  my  last  directions.  I  gave  them, 
as  he  wished;  but  I  said,  'I  shall  not  die.* 
I  repeated,  *I  shall  not  die,  for  I  have  not 
sinned  against  light,  I  have  not  sinned 
against  light.'  I  have  never  been  able  quite  to 
make  out  what  I  meant.     *     ♦     *     i  got  to 


i^' 


185 


HYMNS  THAT  ARE  IMMORTAL 

Castro-Giovanni,  and  was  laid  np  there  for 
nearly  three  weeks.  Towards  the  end  of  May 
1  left  for  Palermo,  taking  three  days  for  the 
journey.  *  *  *  I  was  aching  to  get  home;  yet 
for  want  of  a  vessel  I  was  kept  at  Palermo 
for  three  weeks.  *  *  *  At  last  I  got  off  in 
an  orange  boat  bound  for  Marseilles.  Then 
it  was  that  I  wrote  the  lines,  ^Lead.  Kindly 
Light,'  which  have  since  become  well  known." 

The  circumstances  under  which  it  was 
written  help  to  explain  the  signification  of  the 
hymn.  Newman's  heart,  overshadowed,  op- 
pressed, and  deeply  agitated  by  conditions  at 
home,  affecting  both  Church  and  State,  was 
yearning  intensely  for  light,  rest,  and  as- 
surance, such  as  all  his  High  Church  princi- 
ples had  failed  to  give  him ;  and  out  of  that 
intense  heart-yearning  gushed  the  utterances 
of  ^^Lead,  Kindlv  Lioht." 

Still,  he  was  endeavoring  to  work  out  the 
problem  on  intellectual  lines.  Committed  as 
he  had  been  for  ^ears  to  High  Church  and 
Sacramentarian  views,  and  making  these  the 
fundamental  i)rinciples  of  his  reasoning,  all 
his  rationalizing  had  led  him  straight  toward 
Rome,  although  he  seems  to  have  known  it 
not.  He  had  already  practically  renounced 
the  rij:;ht  of  private  judgment,  and,  although 
he  tells  us  that,  at  the  time  of  writing  the 

1 86 


LEAD,  KINDLY  LIGHT 

hymn,  the  thought  of  leaving  the  Anglican 
Church  ''had  never  crossed  his  imagination." 
he  was  even  then  "a  Romanist  in  all  but  a 
few  })oints  on  which  he  inconsistently  con- 
tinued to  hold  iudei^endent  opinions  for  about 
a  dozen  vears." 

The  hvmn  was  the  crv  of  the  author's  heart 
for  illumination  and  guidance;  and,  as  such, 
answers  to  the  experience  of  many  a  perplex- 
ed, bewildered  and  oppressed  pilgrim  on  the 
hifi^hwav  of  life.  But  Newman's  error  lav  in 
the  direction  of  seeking  the  illumination  and 
guidance  he  had  failed  to  find  in  High  Eccle- 
siasticism  of  one  form  in  High  Ecclesiasticism 
of  another,  a  corrupter,  and  a  more  supersti- 
tious form.  May  not  this  explain  why  the 
eminent  ecclesiastic  who  breathed  so  fervent- 
ly the  prayer,  ''Lead,  Kindly  Light,"  went 
groping  on  ''amid  the  encircling  gloom,"  un- 
til, wearied  with  his  wanderings  "o'er  moor 
and  fen,  o'er  crag  and  torrent,"  he  settled 
down  to  rest  in  the  quagmire  of  Romish 
superstition  and  idolatry,  mistaking  the 
phosphorescent  gleams  arising  from  a  swamp 
for  illumination  from  the  celestial  hills? 

Three  things  have  given  this  production  its 
place  in  the  hymnody  of  the  church — its  poet- 
ry, its  pathos,  and  the  music  to  which  it  has 
been  wedded.     To   the   music   more   than    to 

187 


HYMNS  THAT  ARE  IMMORTAL 

anytliing  else  is  it  indebted  for  its  great  pop- 
ularity as  a  hymn.  An  Anglican  divine  once 
said  to  Cardinal  NeAvman,  ^'It  must  be  a 
great  pleasure  to  you  to  know  that  you  have 
written  a  hymn  treasured  wherever  English- 
speaking  Christians  are  to  be  found."  After 
a  luief  silence  the  Cardinal  answered,  with 
deep  emotion,  ^'Yes;  deeply  thankful,  and 
more  than  thankful.-'  Then,  after  another 
pause,  he  continued :  "But  you  see  it  is  not 
the  hymn  but  the  tune  that  has  gained  the 
popularity.  The  tune  is  by  Dykes^  and  Dykes 
was  a  great  master.'' 

The  universal  character  of  this  hymn  is  il- 
lustrated in  the  fact  that,  ''when  the  Parlia- 
ment of  Religions  met  at  Chicago  during  the 
Columbian  Exposition,  the  representatives  of 
every  creed  known  to  man  found  two  things 
on  Avhich  they  were  agreed.  They  could  all 
join  in  the  Lord's  Prayer,  and  could  all  sing 
'Lead,  Kindly  Light.'"' 

The  hymn  was  a  great  favorite  with  Mr. 
Gladstone,  and  also  with  the  late  President 
McKinley.  In  Union  and  Madison  Squares, 
New  York,  on  the  day  of  the  latter 's  burial, 
at  Canton,  Ohio,  im.mense  throngs  were,  gath- 
ered reverently  to  observe  the  occasion.  A 
period  of  solemn  silence  passed,  after  w^hich 
the  bands  played  "Nearer,  my  God,  to  Thee" 

i88 


LEAD,  KINDLY  LIGHT 

—the  President's  prayer  upon  his  death  bed — 
and  then,  ^'Lead,  Kindly  Light,"  another  of 
the  dead  President's  favorites,  every  head  re- 

/  €-■■ 

maining  uncovered  during  the  solemn  and  pa- 
thetic sei'vice. 

The  following  story,  told  bv  Dr.  Louis  Al- 
bert  Banks  in  his  'Anecdotes  and  Morals," 
will  close  our  consideration  of  this  hymn : 
*'A  little  girl  of  four,  with  her  nurse,  was 
walking  at  the  seaside.  They  came  to  an  in- 
let, and  the  nurse  decided  to  row  across,  be- 
lieving that  hj  so  doing  she  would  shorten 
the  walk  home.  When  the  boat  reached  the 
opposite  side,  she  put  the  child  ashore,  think- 
ing she  was  but  a  little  distance  from  home, 
and  rowed  the  borrowed  boat  back.  The  dis- 
tance was  not  great,  but  was  very  rouirh  and 
difficult  for  a  child  so  small.  She  struggled 
on  through  the  coarse  grass  and  heavy  sand, 
until  at  last  her  mother  saw  her  coming,  and 
hurried  to  meet  her.  The  mother  exclaimed: 
^Wereyou  frightened,  my  sweet?'  ^I  felt  very 
lost,'  was  the  reply,  ^but  I  sang,  "Lead,  Kind- 
ly Light"  to  myself  all  the  way.' 

"This  sweet  little  story,"  continues  Dr. 
Banks,  "suggests  to  our  thought  the  multi- 
tude of  children  who  have  grown  taller,  who 
are  pressing  their  way  through  the  hard 
thickets  of  life  and  the  heavy  sand  of  the  sea- 

189 


HYMNS  THAT  ARE  IMMORTAL 

shores  of  mjsterj^,  to  whom  the  Easter  hope 
is  the  ^Lead,  Kindly  Light'  that  is  nerving 
their  souls  and  inspiring  their  courage  to 
press  forward — 

*0'er  moor  and  fen,  o'er  crag  and  torrent,  till 

The  night  is  gone, 
And  with  the  morn  those  angel  faces  smile, 
Which  they  have  loved  long  since,  and  lost  awhile.'  " 


190 


XXV 

A   NOBLE    HYMN    BY   A   WELSH   COMPOSER 

Judging  from  the  extent  to  which  it  is 
snng  throughout  all  Christendom,  as  also 
from  the  length  of  time  it  has  been  used  and 
tested,  the  hvmn  beginning, 

"Guide  me,  O  Thou  great  Jehovah." 

is  entitled  to  rank  among  those  lyrics  of  the 
Church  which  will  never  be  relegated  to  a  by- 
gone age.  For  a  hundred  and  sixty -live  years 
or  more  it  has  been  singing  itself  around. the 
world,  and  to-day  it  has  a  wider  i)opularity 
than  ever.  Its  author,  in  producing  it,  left 
to  the  Church  of  Christ  a  legacy  of  incalcu- 
lable worth. 

The  hymn  was  written  by  the  Rev.  AYilliam 
Williams,  a  celebrated  preacher  and  poet  of 
Wales,  although  it  has  sometimes  been 
mistakenly  attributed  to  Thomas  Olivers, 
who  comi)Osed  the  music  for  it  soon  after  it 
was  written.  Olivers  was  a  musician,  a^ 
well  as  a  preacher  and  poet.  ;nid  was  also 
himself  a  Welshman  by  birth.     Having  com- 

191 


HY:\rx?^  THAT  ARE  tm:\iortal 

posed  the  iiiusic  to  which  the  hymn  was  orig- 
inally sung,  it  is  not  altogether  strange  that 
in  time,  his  name  became  associated  with 
these  beautiful  stanzas  as  their  author. 

]\rr.  Williams  was  born  at  Cefncyoed,  Car- 
marthenshire, Wales,  in  1717.  He  studied 
medicine,  and  acquired  a  good  educational 
equipment  for  his  chosen  profession.  Tender 
the  inlluence  of  a  j)Owerful  sermon  from  the 
lips  of  Howell  Harris,  in  Talgarth  church- 
yard, he  A\as  soundly  converted,  and  with 
his  conversion  came  that  call  to  the  Christian 
ministry  which  changed  the  whole  course  of 
his  life.  At  the  age  of  twenty-three  he  was 
ordained  Heacon  in  the  Established  Church. 
He  was  never  advanced  to  ''full  orders"  in 
the  .Establishment — probably  because  of  his 
affinity  for  and  his  inclination  toward  the 
Methodists.  Encouraged  by  Whitefield  and 
l^adv  Huntingdon  he  finallv  became  a  Metho- 
dist  itinerant  pieacher,  at  thirty-two  years 
of  age.  "He  possessed  the  warm  heart  and 
glowing  imagination  of  a  ti'ue  Welshman, 
and  his  sermons  abounded  with  vivid  pictur- 
ing, and,  always  radiant  with  the  presence 
of  his  divine  ]\raster,  they  produced  an  extra- 
ordinary effect  on  susceptible  Welshmen.'' 

Associated  with  such  men  as  Harris  and 
Rowlands,   ardent   and   incessant   in   all    his 

192 


HYMN  BY  A  WELSH   COMPOSEK 

labors,  and  endowed  in  a  high  degree  witli 
Welsh  eloquence,  poetic  genius  and  the 
choicest  gift  of  song,  he  very  naturally  be- 
came popular  with  his  countrymen  and  exert- 
ed a  powerful  influence  over  them.  During 
half  a  century  he  inured  himself  to  the  toils, 
trials,  disappointments,  sacrifices  and  hard- 
ships of  an  itinerant  ministry,  his  ardor 
never  abating  nor  his  zeal  flagging,  until,  in 
1791,  he  i)assed  to  be  with  his  adorable  Mas- 
ter forever.  He  is  said  to  have  traveled  ''on 
an  average  two  thousand  two  hundred  thirty 
miles  a  vear.  for  fortv-three  vears.  when  there 
were  no  railroads  and  few  stage  coaches.-' 

As  a  hymn-writer  Williams  did  for  Wales 
what  Watts  and  Wesley  did  for  England  and 
what  Luther  did  for  Geimany — inaugurated 
a  new  era  in  religious  hynmody  and  in  the 
Church's  devotional  song. 

The  time  of  his  dei)arture  found  him  fully 
prepared  to  go.  His  end  was  a  i)eaceful  and 
blessed  realization  of  what  he  had  prayed  for 
as  he  wrote, 

•'When  I  tread  the  verge  of  Jordan 
Bid  my  anxious  fears  subside." 

The  hymn  was  written  in  or  about  the  year 
1745.  At  any  rate  it  was  first  puV)lished  that 
vear.  at  Bristol,  in  a  hvmn-book  ])ublishe(l  bv 

193 


IIYMXS  THAT  ARE  IMMORTAL 

Mr.  \>  illiams  under  the  title  of  ^'Alleluia." 
It  was  originally  written  in  the  Welsh  lan- 
<4uai>e,  witli  five  verses  of  six  lines  each.  The 
following  is  a  copy  of  the  hymn  in  its  orig- 
inal tougne,  for  which  w^e  are  indebted  to 
Julian's  "Dictionary  of  Hymnology :" 

'North  i  fyned  tricy'r  AnialwcJi. 

Arglwydd,    arwain   twry'i*   anilwch 

Fi  bererin  gwael  ei  wedd, 
Nad  oes  ynof  north  na  bywyd, 

Fel  yn  gorwedd  yn  y  bedd : 
Hollaluog 

Ydyw'r  un  a'm  cywd  i'r  Ian. 

Colofn  dan  rho'r  nos  i'm  harwain, 

A  rbo'r  golofn  miol  y  dydd ; 
Dal  fi  pan  b\Yy'n  teithio'r  manan 

Geirwon  yn  fy  ffordd  y  sydd : 
Rho  iini  fanna, 

Fel  na  bwyff  yn  llwfrhan. 

Agor  y  fr'ynnonan  niehis 

Sydd  yn  tarddu  o'r  Graig  i  maes ; 

'Rhyd  yr  anial  mowr  canlyned 
Afon  iacbawdwrineth  gras : 

Rho  imi  hyny  ; 
Dim  i  mi  ond  dy  fwynhan. 

Pan  bwy'n  myned  trwy'r  lorddonen — 

Angen  creulon  yn  ei  rym, 
Fi  est  trwiddi  gj-nt  dy  hunan, 

P'am  yr  ofnaf  bellach  ddim? 
Buddngoliaeth, 

Gwna  imi  waeddi  yn  y  llif ! 

194 


HYMN  BY   A  WELSH   COMPOSER 

Ymddirieilof  yn  dy  alln, 

Ma^yr  gw'r  gwaith  a  wnest  erioed : 
Fi  gest  angau,  ti  gest  uffern, 

Fi  gest  Satan  dan  dy  droel : 
Pen  Calfaria, 

Nac  aed  hwnw  byth  o'm  cof. 

Prom  the  authority  above  quoted  we  also 
learn  that  the  hymu  was  first  translated  (in 
part  only)  into  English  by  Peter  Williams, 
also  a  Welsh  minister,  and  printed  for  him  at 
Carmarthen,  1771,  as  follows : 

Guide  me,  0  Thou  great  Jehovah, 
Pilgnm  thro'  this  barren  land : 

I  am  weak,  but  Thou  art  mighty, 
Hold  me  with  Thy  powerful  hand ; 

Bread  of  heaven, 
Feed  me  till  I  want  no  more. 

Open  Thou  the  pleasant  fountains, 

Where  the  living  waters  flow ; 
Let  the  river  of  salvation 

Follow  all  the  desert  thro' : 
May  Thy  presence 

Always  lead  and  comfort  me. 

Lord,  I  trust  Thy  mighty  power. 
Wondrous  are  Thy  works  of  old; 

Thou  deliver'st  Thine  from  thraldom, 
Who  for  nought  themselves  had  sold: 

Thou  didst  conquer 
Sin  and  Satan  and  the  grave. 


HYMNS  THAT  ARE  IMMORTAL 

These  stanzas  are  translations  of  stanzas 
1,  3  and  5  of  the  original.  William  Williams 
himself  adopted  the  translation  of  verse  1, 
translated  3  and  4  (and  added  another)  into 
English,  and  then  printed  the  whole  in  leaflet 
form,  as  follows: 

A   FAVOURITE    HYMN 

Sung  By 

Lady  Huntingdon's  Young  Collegians 

Printed  hy  the  desire  of  many  Christian  friends 

Guide  me,  O  Thou  great  Jehovah, 
Pilgrim  through  this  barren  laud: 

I  am  weak,  but  Thou  art  mighty. 
Hold  me  by  Thy  powerful  hand ; 

Bread  of  heaven, 
Feed  me  till  I  want  no  more. 

Open  now  the  crystal  fountain, 

Whence  the  healing  streams  do  flow; 

Let  the  fiery,  cloudy  pillar 

Guide  me  all  my  journey  through ; 

Strong  Deliverer, 
Be  Thou  still  my  strength  and  shield. 

When  I  tread  the  verge  of  Jordan, 

Bid  ray  anxious  fears  subside ; 
Death  of  deaths  and  hell's  destruction, 

Land  me  safe  on  Canaan's  side. 
Songs  of  praises 

I  will  ever  give  to  Thee. 

196 


HYMN    BY   A  AVELSH   COMPOt^ER 

Musing  on  nij'  habitation, 

Musing  on  my  heavenly  home. 
Fills  my  heart  Avith  holy  longing ; 
Come,  Lord  Jesus,  quickly  come. 
Vanity  is  all  I  see. 
Lord.  I  long  to  be  with  Thee. 

Tune— "Guide." 

In  this  form  the  hymn  appeared  iu  Lady 
Huntinodon's  Collection,  1772,  in  George 
AVhitetield's  "Psalms  and  Hymns,''  1773,  in 
Conyer's  Collection,  1771,  and  in  others,  of 
almost  every  communion,  until,  changed  into 
the  form  in  which  it  is  now  generally  sung, 
it  has  become  one  of  the  most  extensively 
used  hymns  of  Christendom.  Speaking  of 
the  chant:;e  in  the  third  line  of  the  third 
stanza  from  ''Death  of  deaths,  and  hell's 
destruction"  to  ''Rear  me  through  the  swell- 
ing current,''  ^fr.  Butterworth  justly  depre- 
cates it  as  producing  "an  inferior  picture  for 
the  singer,  wliatever  it  may  be  to  the  rhetori- 
cian." 

The  hymn,  in  one  form  or  another,  has 
been  translated  into  many  languages,  but 
always  from  tlie  English.  "These  translations 
include  the  Rev.  R.  Bingham's  rendering  of 
it  into  Latin,  under  the  title,  Magne  tu,  Je- 
Jiovah/' 

In  Paxton  Hood's  ''Christmas  Evans,  the 
Preacher  of  Wild  Wales.''  various  specimens 

197 


HYMXS  THAT  ARE  IMMORTAL 

of  Mr.  Evans's  allegorical  sermonizing  are 
given,  among  which  are  extracts  from  his  ser- 
mon on  ''Satan  Walking  in  Dry  Places.'^  The 
object  of  the  discourse  seems  to  have  been 
tliat  of  sliowing  how  a  mind  preoccupied  with 
holy  thoughts  and  asi>irations  is  fortified 
against  the  intrusion  of  evil  suggestions  from 
the  I'rince  of  Darkness.  After  describing 
Satan  as  a  vast,  invisible,  and  wicked  spirit, 
moving  about  in  the  realm  of  moral  darkness 
and  seeking  opportunity  to  insinuate  himself, 
through  the  avenues  of  sense,  into  some  un- 
suspecting soul  and  lure  it  to  destruction,  he 
sees  him  fix  his  fiery  but  invisible  glance  upon 
a  lad,  in  the  rosy  blush  of  health  and  in- 
nocence, as  he  sits  upon  the  box  of  his  cart 
driving  to  the  quarries  for  slate  or  lime. 

ii  'There  he  is,'  said  Satan ;  'his  veins  are  full 
of  blood,  his  bones  are  full  of  marrow.  I  will 
cast  my  sparks  into  his  bosom,  and  set  all  his 
passions  on  fire;  I  will  lead  him  on,  and  he 
sliall  rob  his  master,  and  lose  his  place,  and 
find  another,  and  rob  again,  and  do  worse; 
and  he  shall  go  on  from  worse  to  worse,  and 
then  his  soul  shall  sink,  never  to  rise 
again,  into  the  lake  of  fire.'  But  just  then 
as  lie  was  about  to  dart  a  fiery  temptation 
into  the  heart  of  the  youth,  the  evil  one  heard 
him  sing, 

198 


HY^IX  BY  A  WELSH   COMPOSER 

'Guide  mo,    O   Thon   ^'eat   .Teliovah. 

Pilgrim  through  this  barren  land ; 
I  am  weak,  but  Thou  art  mighty. 

Hold  me  by  Thy  powerful  hand  ; 
Strong  Deliverer, 
Be  Thou  still  my  strength  and  shield.' 

'Oh,  but  this  is  ii  dry  place,'  said  the  fiery 
dragon  as  he  fled  away." 

It  was  allegory  indeed^  but  allegory  true  to 
the  experience  of  thousands  who  have, 
through  the  singing  of  this  precious  bymn, 
been  safeguarded  from  the  cruel  wiles  and 
fierv  darts  of  the  wicked  one. 

A  minister's  wife  lay  dying  in  England  in 
1883.  From  her  eiditeenth  year  she  had  been 
a  deyoted  Christian,  and,  since  her  marriage, 
had  also  been  a  faithful  helper  of  her  husband 
in  his  work.  "I  am  not  afraid  to  die,"  she 
said,  as  the  end  drew  near,  ''but,  if  it  pleases 
our  heavenly  Father,  I  should  like  to  have 
greater  joy.  Pray  for  me  that  I  may  feel 
very  happy."  The  hymn  we  are  considering 
had  been  sung  not  long  before  by  an  audience 
from  a  screen  on  which  it  had  been  thrown  by 
a  magic  lantern.  The  last  three  davs  of  her 
illness  she  was  greatly  comforted  and  helped 
by  the  words  of  the  last  stanza,  which  were 
much  upon  her  mind : 


199 


HYMNS  THAT  ARE  IMMORTAL 

"When  I  tread  the  verge  of  Jordan, 
Bid  my  anxious  fears  subside; 
Death  of  deaths,  and  hell's  destruction, 
Land  me  safe  on  Canaan's  side ; 

Songs  of  praises 
I  win  ever  give  to  Thee."  * 

Thus,  through  the  ministry  of  Mr.  Williams's 
immortal  lyric,  her  desire  was  granted,  and 
in  great  happiness  she  passed  from  earthly 
scenes  to  mansions  in  the  skies. 


»oo 


XXVI 

THE   SHEPHERD   PSALM   IN    METER 

No  Other  hymn  of  the  Church  is  so  gener- 
ally <tud  deeply  engraven  on  the  hearts  of  the 
Scottish  people  as  Rous's  metrical  version  of 
the  twenty-third  Psalm,  of  which  the  follow- 
ing is  a  reproduction: 

The  Lord's  my  Shepherd,  I'll'  not  want, 

He  makes  me  down  to  lie 
In  pastures  green ;  He  leadeth  me 

The  quiet  waters  by. 

My  soul  He  doth  restore  again ; 

And  me  to  walk  doth  make 
Within  the  paths  of  righteousness, 

Ev'n  for  His  own  name's  sake. 

Yea,  though  I  walk  in  death's  dark  vale, 

Yet  will  I  fear  no  ill : 
For  Thou  art  with  me ;  and  Thy  rod 

And  staff  me  comfort  still. 

My  table  Thou  hast  furnished 

In  presence  of  my  foes ; 
My  head  Thou  dost  with  oil  anoint, 

And  my  cup  overflows. 

201 


HYMNS  THAT  ARE  IMMORTAL 

Goodness  and  mercy  all  my  life 

Shall  snrely  follow  me : 
And  In  God's  bouse  forevermore 

My  dwelling  place  shall  he. 

Tune— "Evan." 

''Its  author  is  said  to  be  Francis  Rous, 
once  the  Lord  of  Halton  Hall,  near  the  banks 
of  the  Taniar,  Cornwall,  and  he  is  described 
as  'legislator,  divine,  privy  councilman,  one  of 
Cromwell's  triers  of  clerical  candidates.  Pro- 
vost of  Eton,  member  of  Cromwell's  Tapper 
House  and  author  of  the  "Metrical  Version 
uf  the  Psalms"  authorized  to  be  used  by  the 
Scotch  Presbyterians.'  To  one  acquainted 
with  the  lovelv  varieties  of  scenery  around 
his  Cornish  home,  it  would  seem  as  though 
the  river-side  verdure,  the  meadows,  gardens, 
all  lieli)ed  to  inspire  his  muse  as  expressed 
in  the  first  verse'-    (Stevenson). 

Fcr  many  generations  this  touching  and 
beautiful  lyric  has  been  dear  to  Scotia's 
virile  sons,  wherever  their  lot  has  fallen  or 
whatever  their  circumstances  may  have  been. 
It  has  ever  "accompanied  them  from  child- 
hood to  age,  from  their  homes  to  all  the  seas 
and  lands  where  thev  have  wandered,  and  has 
been  to  a  multitude  no  man  can  number  the 
rod  and  staff  of  which  it  speaks,  to  guide  and 
uuard  tliem  in  dark  vallevs,  and  at  last 
through  the  darkest." 

202 


THE   SITEPHKRD   PSALM 

In  his  early  manhood  the  writer  was  em- 
ployed by  a  deyont  old  Scotchman  who,  dur- 
ing: the  latter  part  of  this  time,  was  slowly 
wasting  away  from  a  lingering"  and  painful 
disease.  Although  deyout,  as  we  haye  said, 
and  an  honored  member  of  the  ^*kirk"  from 
early  years,  yet  the  old  gentleman  was  much 
troubled  in  those  trying  days  oyer  the  fact 
that  he  had  neyer  had  any  assurance  of  his 
acceptance  with  God.  as  also  in  remembering 
that  he  had  been  far  too  worldly — or,  as  he 
forcibly  expressed  it,  eyen  when  on  his  knees 
in  prayer  had  too  oft  allowed  his  heart  to  be 
awa'  after  its  coyetousness. 

For  some  weeks  it  was  his  custom  to  re- 
quest us  to  spend  an  hour  each  day  after  din- 
ner conyersing  on  spiritual  things,  reading 
the  Scriptures,  and  singing  from  the  metrical 
version  cf  the  Psalms.  His  favorite  was  the 
She})hcrd  Psalm, — 

"The   Lord's  my   Shepherd.   I'll  not  want. 
He  makes  me  down  to  lie 
In  pastures  green  ;  He  leadeth  me 
The  quiet  waters  by." 

He  was  always  melted  to  tears  during  the 
singing  of  the  Psalm,  and  ^yould  express  the 
comfort  he  derived  from  the  exercise  in 
strong  and  pathetic  terms.  At  last  the  light 
of  God  came   to  his  heart  with  ''full  assur- 

203 


HYMNS  THAT  ARE  IMMORTAL 

ance,"  and  be  was  able  to  sing,  witb  an  ap- 
preciation be  never  realized  before, 

"Yea.  though  I  walk  in  death's  dark  vale. 
Yet  will  I  fear  no  ill : 
For  Thou  art  with  me;  and  Thy  rod 
And  staff  me  comfort  still." 

Obeered  bv  tbis  sweet  assurance  be  finally 
passed  tbrougb  the  valley  of  sbadows  witbout 
a  fear,  in  boly  peace,  and  witb  tbe  furtber  as- 
surance expressed  in  tbe  last  couplet  of  tbe 
hvmn, 

"And  in  God's  house  forevermore 
My  dwelling  place  shall  be." 

Tbe  Rev.  Jobn  Watson  (Tan  Maclaren)  re- 
lates a  storv  wbicb  also  beautifullv  illus- 
trates  tbe  attacbment  of  tbe  Scottish  people 
to  tbis  particular  bymn.  It  is  of  an  old  Scot 
who,  in  bis  illness,  bad  demanded  of  bis  pby- 
sician  tbe  trutb  concerning  bis  condition,  and 
was  informed  tbat  recovery  was  impossible. 
On  pressing  tbe  matter  furtber  and  demand- 
ing to  know  wben  tbe  end  would  come,  tbe 
doctor  expressed  tbe  oi)inion  tbat  it  would 
be  early  tbe  next  morning. 

"Aboot  daybreak,"  said  tbe  pious  Scot,  in 
a  tone  expressing  willingness  to  die  and  par- 
ticular satisfaction  at  the  prospect  of  passing 
to  tbe  better  land  witb  tbe  rising  of  tbe  sun. 

204 


THE   SHEPHERD   TSALM 

During  the  afternoon  a  godly  English  wo- 
man, having  learned  of  the  old  man's  illness 
and  loneliness,  called  on  him  in  the  hospital, 
ottered  her  sympathy,  and  suggested  that  pos- 
sibly the  singing  of  a  few  verses  from  some 
hynm  like  "Rock  of  Ages''  might  afford  him 
comfort.  But  the  dear  old  man,  true  to  the 
tradition  of  his  fathers,  had  stoutly  opposed 
the  singing  in  worship  of  anything  but  the 
Psalms  of  David  all  his  life,  and.  though, 
politely  thanking  the  good  woman  for  her 
kindness,  said : 

''A'  ma  days  hev  I  been  protestin'  against 
the  use  o'  human  hymns  in  the  praise  o'  God ; 
a've  left  three  kirks  on  that  account  and 
raised  me  testimony  in  public  places,  and 
noo  wud  ve  send  me  into  eternitv  wi'  the 
sough  o'  a  hymn  in  ma  ears?" 

Then  he  declared  his  willingness,  so  long  as 
strength  remained,  to  argue  with  the  good 
woman  concerning  the  lawfulness  of  singing 
human  hymns.  Too  wise  to  enter  disputation 
with  a  dying  man,  she  suggested  that  they 
talk  not  about  things  wherein  they  differed, 
told  him  she  was  ignorant  of  how  the  Scots 
regarded  the  singing  of  uninspired  hymns, 
and  then  mentioned  to  him  a  visit  she  had 
made  to  the  Highlands  where  she  heard  the 
singing  of  the  Psalms  and  was  moved  to  tears 

20$ 


HYMNS  THAT  ARE  IMMORTAL 

by  the  grave,  sweet  melody  which  poured 
from  the  hearts  of  a  strong  and  pious  people. 
"I  can  understand,"  she  said,  "how  jou  love 
the  Psalms  and  how  dear  to  you  is  your  met- 
rical version." 

"As  she  spoke  the  old  hard  Scot's  face  be- 
gan to  soften,  and  one  hand  which  was  lying 
outside  the  bed-clothes  repeated  the  time  of  a 
Scot's  psalm  tune.  He  was  again  in  the  coun- 
try church  of  his  boyhood  and  saw  his  father 
and  mother  going  into  the  table  seats  and 
heard  them  singing: 

*0  thou  my  soul,   bless  God  the  Lord, 
And  all  that  in  me  is 
Be  stirred  up  his  holy  name 
To  magnify  and  bless.' 

"More  than  that,  I  know  some  of  your 
psalm  tunes  and  I  have  the  words  in  my 
hymn-book ;  perhaps  I  have  one  of  the  Psalms 
which  vou  would  like  to  hear.' 

"  'Did  ye  think  ye  cud  sing  the  twenty- 
third  I*salm, 

"The  Lord's  my  Shepherd,  I'll  not  want"? 

for  I  wud  count  it  verra  comfortin.' 

"  'Yes/  she  said,  'I  can,  and  it  will  please 
me  very  much  to  sing  it,  for  I  think  I  love 
that  Psalm  more  than  any  hymn.' 

206 


thp:  shepherd  psalm 

"  ^It  never  runs  dry/  mnrmnred  the  Scot. 

''So  she  sang  it  from  beginniug  to  end  in  a 
low,  sweet  voice,  slowly  and  reverently,  as 
she  heard  it  snng  in  Scotland.  He  joined  in 
no  word,  bnt  ever  he  kept  time  with  his  hand 
and  with  his  heart,  while  his  eyes  looked  into 
the  things  that  were  far  away. 

""After  she  ceased,  he  repeated  to  himself 
the  last  two  lines : 

'And    in    God's    liouse    forevermore 
My  dwoiling-place  shall  he.' 

"•  Thank  ve,  thank  ve '  he  said,  after  a  lit- 
tie  panse,  and  then  both  were  silent  for  a  few 
minntes,  because  she  saw  that  he  was  in  his 
own  country,  and  did  not  wish  to  bring  him 
back  again  bv  her  foreij:;n  accent. 

'^  'Mem,  ye've  dune  me  the  greatest  kind- 
ness onv  Christian  cud  do  for  anither  as  he 
stands  on  the  banks  of  the  Jordan.' 

'Tor  a  minute  he  was  silent  again,  and 
then  he  said : 

"  ^A'm  gaein'  to  tell  ye  somethin',  and  a' 
think  ye'll  understand.  ^la  wife  and  me  was 
married  thirtv-five  vears,  and  ilka  nicht  of 
oor  married  life  we  sang  a  Psalm  afore  we 
gaed  to  rest.  She  took  the  air  and  a'  took 
the  bass,  and  we  sang  the  Psalms  through 
frae  beginning  to  end  twa  times.     She  was 

207 


HY.AIXS   THAT  xVRE    IM:^I0KT:\L 

taken  trap  me  ten  years  ago,  and  the  uicht 
afore  she  dee'd  we  sang  the  twenty-third 
rsjilni.  A've  never  sung  the  Psalm  since,  and 
1  didna  join  avI'  ve  when  ve  sang  it,  for  a'm 
waitin'  to  sing  it  wi*  her  new  in  oor  Father's 
hoose  the  mornin's  mornin'  whar  there'll  be 
nae  nicht  nor  partin'  evermore." 

''And  this  is  how  one  English  woman  found 
out  that  the  Scot  is  at  once  the  dourest  and 
the  tenderest  of  men.'' 

Mr.  Stead  regards  the  most  impressive  in- 
stance of  tliis  hymn's  helpfulness  in  times  of 
crisis  as  that  contained  in  the  story  of  Mar- 
ian Harvey,  a  servant  lass  of  twenty,  who, 
with  Isabel  Alison,  was  executed  at  Edin- 
burgh for  having  attended  the  preaching  of 
Donald  Cargill.  and  for  aiding  in  his  escape. 
''As  the  brave  lassies  were  being  led  to  the 
scaffold,  a  curate  pestered  them  with  his 
])rayers.  'Come.  Isabel,'  said  Marian,  'let  us 
sing  the  twenty -third  Psalm.'  And  sing  it 
tliey  did,  a  thrilling  duet  on  their  pilgrimage 
to  the  gallows  tree.  It  was  rough  on  the 
Covenanters  in  those  days,  and  their  paths 
did  not  exactly,  to  outward  seeming,  lead 
them  by  the  green  pastures  and  still  waters. 
But  thev  got  there  somehow,  the  twentv-third 
Psalm  helping  them   no   little." 


208 


Trust 


2og 


XXVII 

THE  FIRM  FOUNDATION 

Among  modern  hvmns  of  highest  rank  and 
widest  popiihiritv  few  hold  a  more  exalted 
place  than 

"now  firm  a  foundation,  re  saints  of  the  Lord, 
Is  laid  for  your  faith  in  His  excellent  word." 

It  is  ^^one  of  the  noblest  lyrics  and  richest 

possessions  of  the  Christian  Chnrch"  in  this 

country. 

«•  • 

The  origin  of  the  hymn  is  involved  in  much 
obscurity.  It  has  been  variously  ascribed  to 
Kirkham,  Keith  and  Keene.  As  originally 
published,   in   Rippon's   Collection,  1787,  the 

only  signature  appended  to  it  was  ^'K ." 

Thomas  Kirkham  published  a  collection  of 
hymns  in  1788,  but  that  work  is  said  not  to 
contain  this  hvmn ;  nor  has  anv  reliable  evi- 
dence  ever  been  furnished,  so  far  as  we  can 
find,  in  support  of  Kirkham's  authorship. 
Keith's  authorship  was  originally  suggested 
by  Daniel  Sedgwick,  a  second-hand  book-sell- 
er of  London,  and  a  hymnologist  of  high  re- 

211 


HY]\rXS  THAT  ARE   IMMORTAL 

pule  in  liis  time;  but,  although  his  opinion 
carried  sufficient  authority  to  become  an  es- 
tablished  tradition,  it  api)ears  to  have  been 
a  mere  guess,  based  on  the  fact  that  Keith 
was  a  London  book-seller,  K  was  the  initial 
of  his  name,  and  an  old  woman  in  an  alms- 
house had  made  a  statement  to  Mr.  Sedgwick 
affirming  Keith's  authorship. 

To  the  late  H.  L.  Hastings,  of  Boston,  a 
well  known  editor  and  publisher  of  anti- 
infidel  literature,  and  compiler  of  a  large 
hymnal  known  as  "Songs  of  Pilgrimage,"  be- 
longs the  credit  of  having  T\TOught  out  the 
most  rational  solution  of  this  problem.  The 
story  of  his  effort  is  too  long  to  be  repeated 
here.  The  sum  of  it  all  is  as  follows :  While 
preparing  "Songs  of  Pilgrimage"  he  exam- 
ined not  only  Rippon's  h^mn-book,  but  his 
tune-book  as  well.  He  noticed  that  in  the 
hymn-book  the  tune  "Geard"  was  given  as 
that  to  which  the  hymn  in  question  should  be 
sung,  and  that  in  the  tune-book  the  tune 
"Geard"  Avas  credited  to  R.  Keene.  This  sug- 
gested the  thought  that  possibly  Keene  was 
also  author  of  the  hvmn.  Comparing  the 
hymn  and  tune  they  seemed  as  if  made  for 
each  other,  and  the  evidence  seemed  to  point 
80  conclusively  to  Keene's  authorship  that  he 
inserted  the  hymn  in  "Songs  of  Pilgrimage'* 

212 


THE  FIKM  FOUNDATION 

with  the  orijTjinal  tune,  placing;  under  it  the 
signature,  "K.  Keeue(?).'' 

Visiting'  London  in  1880,  Mr.  Hastings,  in 
an  interview  with  the  venerable  Charlee  (Jor- 
delier,  gathered  from  his  recollections  that 
Keene  was  once  J)r.  Rippon's  precentor,  and 
also  other  facts  which  seemed  to  be  sufficient 
confirmation  of  the  conclusion  reached  from 
his  own  previous  research.  "In  view  of  all 
the  facts,"  said  Mr.  Hastings,  "we  think  we 
may  consider  the  question  settled,  and  defi- 
nitely assign  the  authorship  of  the  hymn  to 
R.  Keene,  a  precentor  in  Dr.  Rippon's  church, 
the  author  of  the  tune  'Geard,'  to  which  it 
was  sung.-' 

Dr.  Julian,  in  preparing  his  "Dictionary 
of  Hymnology."  came  ui)on  other  evidence 
which  apj)ears  to  be  confirmatory  of  Mr.  Has- 
tings's solution.     In   Dr.   Fletcher's   Baptist 

Collection  of  1882  he  found  the  "K "  of 

Rippon's  Collection  having  the  form  of  "Kn," 
and,  in  the  edition  of  1835,  still  further  ex- 
tended to  "Keen ;"  "while  in  the  preface  Dr. 
Fletcher  stated  that  he  was  greatly  assisted 
by  Thomas  Walker,  and  acknowledged  his  ex- 
tensive acquaintance  with  sacred  poetry." 
Walker  is  said  to  have  been  Dr.  Rippon's  pre- 
centor, and  also  editor  of  his  tune-book  con- 
taining the  tune  "Geard."  In  view  of  all  these 

213 


nVMXS  THAT  ARE   IMMORTAL 

« 

thiiifl^s  Dr.  Julian  considers  that  Dr.  Walker 
based  his  ascription  of  Keen's  authorship 
upon  actual  knowledge  of  the  facts,  and  gives 
it  as  his  verdict  that  "we  are  justified  in  con- 
cluding that  the  ascription  of  this  hymn 
must  be  that  of  an  unknown  person  of  the 
name  of  Keen." 

The  following  is  the  text  of  the  hvmn, 
which  was  originally  entitled,  "Precious 
Promises :" 

How  firm  a  foundation,  ye  saints  of  the  Lord, 
Is  laid  for  your  faith  in  His  excellent  word! 
What  more  can  He  say  than  to  you  He  hath  said. 
You  who  unto  Jesus  for  refuge  have  tied? 

In  every  condition — in  sickness,  in  health. 
In  poverty's  vale,  or  abounding  in  wealth ; 
At  home  or  abroad :  on  the  land,  on  the  sea — 
*'As  thy  days  may  demand,  shall  thy  strength  ever 
be. 

"Fear  not :  I   am  with  thee ;  O  be  not  dismayed ! 

1,  I  am  thy  God,  and  will  still  give  thee  aid; 

I'll   strengthen   thee,   help   thee,    and  cause  thee  to 

stand, 
Upheld  by  my  righteous,  omnipotent  hand. 

"When  through  the  deep  waters  I  call  thee  to  go, 
The  rivers  of  woe  shall  not  thee  overflow  ; 
For  I  will  be  with  thee,  thy  troubles  to  bless, 
And  sanctify  to  thee  thy  deepest  distress. 

"When  through  fiery  trials  thy  pathway  shall  lie. 
My  grace,  all-sufficient,  sliall  be  thy  supply ; 

214 


THE  FIRM  FOUXDATION 

The  flame  shall  hnrt  thee — I  only  desig^i 
Thy  dross  to  consume,  and  thy  gold  to  refine. 

"E'en  down  to  old  age,  all  my  people  shall  prove 
"My  sovereign,  eternal,  unchangeable  love : 
And  when  hoary  hairs  shall  their  temples  adorn. 
Like  lambs  they  shall  still  in  my  bosom  be  borne. 

"The  soul  that  on  Jesus  hath  leaned  for  repose, 
I  will  not,  I  will  not,  desert  to  his  foes; 
That  soul,  though  all  hell  shall  endeavor  to  shake. 
I'll  never — no  never — no  never  forsake." 

Tune — "Portuguese  Hymn." 

The  hTmn  is  based  upon  several  passages 
of  scripture.  The  first  is  2  Peter  1:4: 
"Whereby  are  given  unto  us  exceeding  great 
and  precious  promises,"  etc.  The  next  is 
Isaiah  41 :  10 :  ''P>ar  thou  not ;  for  I  am  with 
thee:  be  not  dismayed;  for  I  am  thy  God:  I 
will  strengthen  thee;  yea,  I  will  uphold  thee 
with  the  right  hand  of  my  righteousness." 
Another  is  Isaiah  43 : 2 :  "^Vhen  thou  passest 
through  the  waters,  I  w41I  be  with  thee ;  and 
through  the  rivers,  they  shall  not  overflow 
thee:  when  thou  walkest  through  the  fire,' 
thou  shalt  not  be  burned ;  neither  shall  the 
flame  kindle  upon  thee;  for  I  am  the  Lord 
thv  God,  the  Holy  One  of  Israel,  thy  Sa- 
vior.''  The  last  is  Isaiah  4G :  4 :  "And  even 
to  your  old  age  I  am  He;  and  even  to  hoary 
hairs  will  I  carry  you :  I  have  made,  and  I 
will  bear;  even  I  will  carry  and  deliver  vou.'' 

215 


HYMNS  THAT  ARE   IMMORTAL 

The  tlioroiigh  vscriptnralness  of  the  i)ro(lii('- 
tion,  and  also  its  preeminent  adaptation  to 
ministering.'  inspiration  and  comfort  to  Iried 
and  tempted  sonls  in  all  the  successive  sta|»es 
and  amid  all  the  changeful  vicissitudes  of  the 
Christian  pilgrimage,  are  undoubtedh'  the 
chief  elements  of  its  extensive  popularity. 

From  the  "Western  Sketch-book,"  by  James 
Gallagher,  who  mentions  therein  a  visit  to 
General  Jackson  in  the  Hermitage  in  Sep- 
tember 1843,  Dr.  Duffield  quotes  the  follow- 
ing in  his  "English  Hymns :" 

"The  old  hero,"  says  Dr.  Gallagher,  "was 
then  very  frail,  and  had  the  appearance  of 
extreme  old  age ;  but  he  was  reposing  with 
calmness  and  confidence  on  the  i)romise  and 
covenant  of  God.  He  had  now  been  a  mem- 
ber of  the  church  for  several  years.  During 
the  conversation  which  took  place  General 
Jackson  turned  to  Mr.  (iftllagher  and  remark- 
ed :  'There  is  a  beautiful  hymn  on  the  sub- 
ject of  the  exceeding  great  and  precious 
j)roniises  of  God  to  His  people.  It  was  a 
favorite  hvmn  with  mv  dear  wife,  till  the  day 
of  her  death.    It  commences  thus : 

"How  firm  a  foundation,  ye  saints  or  the  Lord." 

J  wish  you  could  sing  it  now.'  So  the  little 
company  sang  the  entire  hymn  in  its  seven 
stanzas." 

216 


THE  FIR.^I  FOUNDATION 

Tims  was  the  maj»'nificent  lyric  we  have 
been  considering  made  to  minister  comfort 
and  hope  to  the  distinguished  soldier  and 
statesman   'in   age   and  feebleness  extreme." 

The  following  incident  was  related  in  the 
t^undajj- school  Times  of  December  7,  1891,  by 
Lieutenant-Colonel  Curtis  Guild,  Jr.,  late  In- 
spector-general of  the  Seventh  Army  Corps, 
and  is  reproduced  in  ''Studies  of  Familiar 
Hvnins :" 

"The  corps  was  encamped  along  the  hills  of 
(^uemados,  near  New  Havana,  Cuba.  On 
r'hristmas  eve  of  1808  Colonel  Guild  sat  be- 
fore his  tent  in  the  balmy  tropical  night, 
chatting  with  a  fellow  officer  of  Christmas 
and  home.  Suddenly  from  the  camp  of  the 
Forty-ninth  Iowa  rang  a  sentinel's  call, 
*Nuniber  ten ;  twelve  o'clock,  and  all's  well  I' 

"  ^It  was  Christmas  morning.  Scarcely 
had  the  cry  of  the  sentinel  died  away,  when 
from  the  bandsmen's  tent  of  that  same  regi- 
ment rose  the  music  of  an  old,  familiar  hymn, 
and  one  clear  barytone  voice  led  the  chorus 
that  quickly  ran  along  those  moonlit  fields : 

'IIow  firm  a  foundation,  ye  saints  of  the  Lord !' 

Another  voice  joined  in,  and  another,  and  an- 
other, and  in  a  moment  the  whole  regiment 
joined  in  with  the  Fourth  VirginiU,  and  all 

217 


HYMNS  TirAT  ARE  IMMORTAL  - 

the  rest,  till  there,  on  the  long  ridge  above  the 
great  city  whence  Spanish  tyranny  once  went 
forth  to  enslave  the  New  World,  a  whole 
American  corps  was  singing: 

'Foar  not ;  I  am  with  thee,  O  be  not  dismayed  ; 
I,  I  am  thy  God,  and  will  still  give  thee  aid; 
I'll   strengthen  thee,   help  thee,   and  cause  thee  to 

stand, 
T^pheld  by  my  righteous,  omnipotent  hand.' 

"  'The  northern  soldier  knew  the  hvmn  as 
one  he  had  learned  beside  his  mother's  knee. 
To  the  southern  soldier  it  was  that  and  some- 
thing more;  it  was  the  favorite  hymn  of  Gen- 
eral Robert  E.  Lee,  and  was  sung  at  that 
great  commander's  funeral. 

"  'Protestant  and  Catholic,  South  and 
North,  singing  together^  on  Christmas  day  in 
the   morniniir, — that's   an   American    army!''' 

After  rehearsing  the  foregoing  incident  Dr. 
Benson  appropriately  adds:  ''If  any  one  has 
felt  a  sense  of  impropriety  in  divorcing  the 
old  Christmas  music  from  its  proper  words, 
surely  he  may  feel  that  it  came  to  its  own 
again  that  morning.  Such  an  incident,  and 
what  it  implies,  inclines  rather  to  tlie  hope 
that  'How  firm  a  foundation'  ma^^  never  cease 
to  be  sung  among  us,  and  that  it  may  never 
be  set  to  any  other  tune." 


218 


xxviir 

REMARKABLE    HYMX   OX   DIVIXE    PROVIDEXCE 

Had  William  Cowper  never  achieved  any- 
thing else  of  distinction  his  production  of  the 
hvmn  beginning, 

"God  moves  in  a   mysterious   way, 
His  wonders  to  perform," 

would  have  rendered  his  name  familiar  in  ev- 
ery Christian  household  of  the  English  speak- 
ing world  to  latest  generations.  It  holds  the 
highest  rank  of  all  the  hymns  of  its  illus- 
trious author,  although  ^'There  is  a  fountain 
filled  with  blood'-  is  more  generally  known 
and  more  popularly  used  in  public  worship. 
The  hvmn  is  not  onlv  elevated,  finished,  and 
charming  in  itself,  but,  as  ^lontgomery  has 
said,  is  '^rendered  awfully  interesting  b}'  tJie 
circumstances  under  which  it  was  written — 
the  twilight  of  departing  reason." 

The  author  of  the  hymn  was  born  at  Berk- 
hamstead,  Hertfordshire,  England,  in  1731. 
His  father  was  tlie  Rev.  John  Cowper,  at  one 
time  chaplain  to  King  George  II.    His  moth- 

219 


HYMNS  THAT  ARE  IMMORTAL 

er,  wlio  traced  her  pedigree  back  to  King 
Henry  III.,  died  when  he  was  but  six  years 
old.  TJeing  naturally  very  delicate  and  sen- 
sitive, his  bereavement  weighed  upon  him  to 
snch  an  extent  that,  as  a  mere  boy,  he  became 
deeply  melancholy.  This  condition  was  so  ag- 
gravated that  his  after  life  was  deeply  shad- 
owed in  consequence  and  through  unpleasant 
experiences  endured  for  some  years  in  school 
at  Westminster.  The  sorrow  occasioned  by 
his  mother's  death  never  ceased  to  weigh 
upon  him.  and  years  after  the  sad  occurrence, 
in  viewing  one  of  her  juctures,  he  recalled  the 
anguish  his  young  heart  experienced  when 
that  sore  bereavement  fell  upon  him  and 
beautifully  expressed  the  same  in  verse : 

"My  mother!  when  T  learned  that  thou  wast  dead, 
Say,  wast  thou  const-ions  of  the  tears  I  shed? 
Hovered  thy  spirit  o'er  thy  sorrowing  son— 
Wretch  even  then,  life's  journey  just  he^n? 
Perhaps  thou  gavest  nie,  though  unseen,  a  kiss, 
Perhaps  a  tear,  if  souls  can  weep  in  bliss. 
I  heard  the  bell  tolTd  on  thy  burial  day, 
I  saw  the  hearse  that  bore  thee  slow  away  I 
And,  turning  from  my   nursery  window,  drew 
A  long,   long  sigh,   and  wept  a  last  adieu." 

While  in  Westminster  he  acquired  consid- 
erable classical  education,  and  in  addition  to 
his  school  requirements,  translated  the  whole 

220 


HYMN  ON   DIVINE   PROVIDENCE 

of  TTomer's  "Iliad  and  Odyssey.''  On  leav- 
ing Westminster  lie  was  apprenticed  to  an  at- 
torney for  three  years.  This  was  not  his  own 
but  his  father's  choice,  and  the  profession  of 
the  law  not  bein"  to  his  liking  he  was  not  as 
attentiye  to  it  as  he  might  haye  been  to  some- 
thing more  congenial  to  his  tastes  and  incli- 
nations. 

Some  years  after  the  conclusion  of  his  law 

C'' 

course  he  was  eligible  to  the  position  of  clerk 
to  the  House  of  Lords,  which  had  been  se- 
cured for  him  through  family  influence.  He 
was  expected  to  qualify  for  the  position  by 
taking  an  examination,  but  the  shrinking  of 
his  timid  and  sensitive  nature  from  the  or- 
deal of  a  formal  examination  so  agitated  and 
depressed  him  that  he  fell  into  a  state  of 
mental  disorder  and  failed  to  appear.  His  de- 
pression was  so  great  that  he  even  attemi)ted 
suicide,  in  which  act  of  desperation  he  failed 
for  lack  of  courage.  From  this  time  on  to 
the  close  of  his  life  Cowper  was  subject  to 
seasons  of  terrible  des])ondency  and  despair, 
at  times  regarding  himself  as  haying  commit- 
ted the  unpardonable  sin  and  believing  him- 
self as  hopelessly  lost  as  though  in  hell  al- 
ready. 

After  his  first  attack  he  was  placed  in  a  re- 
treat conducted  by   Dr.  Cotton,  a   poet  and 

221 


HYMNS  THAT  ARE  IMMORTAL 

philanthropist,  under  whose  judicious  treat- 
ment and  advice  he  was  not  only  delivered 
from  his  mental  disorder,  but  was  also  led 
to  find  peace  T\'ith  God  through  Jesus  Christ. 
He  was  ever  afterward  a  devout  and  earnest 
Christian,  and,  except  during  his  intervals 
of  mental  aberration,  was  bright,  cheerful 
and  companionable,  and  withal  an  eager  stu- 
dent and  an  earnest  and  fruitful  worker  in 
the  cause  of  Christ.  In  devoutness  he  was 
not  surpassed  by  Wesley,  although  the  hit- 
ter's naturally  cheerful  temperament  and  his 
own  constitutional  tendency  to  melancholy 
places  Cowper  at  a  disadvantage  in  such  a 
comparison. 

Cowper  was  not  merely  a  religious  hymn- 
writer  but  a  poet  of  the  highest  rank  in  his 
day,  and  an  able  prose  writer  as  well.  He  in 
England  and  Burns  in  Scotland  are  credited 
with  having  inaugurated  that  epoch  in  Eng- 
lish literature  in  which  poetry  was  recalled 
from  Artificialism  to  Naturalism.  Cowper's 
poetry  is  always  "eminently  healthy,  natural 
and  unaffected."  Besides  being  eminent  as 
a  poet  he  has  also  been  characterized  as  "the 
most  delightful  letter-writer  in  the  English 
language,  the  charm  of  whose  epistles  noth- 
ing can  surpass — full  of  humor,  gentle  sar- 
casm, anecdote,  acute  remark,  and  a  tender 

222 


HYMX   ON   DIVINE   rKOVIDKNCE 

^     I  i 

shadow  of  melancholy  thrown  over  and  ton- 

iug  down  the  whole." 

In  17G7  Cowper  took  np  his  residence  in 
Olney,  where  a  most  intimate  friendship 
sprang  np  between  him  and  the  Rev.  John 
Newton,  tlie  cnrate  of  that  place.  Cowper 
was  a  constant  attendant  at  the  services  in 
jlr,  Newton's  church,  and  was  especially 
faithful  in  attending-  the  cottage  praj'er-meet- 
ings,  for  which  most  of  his  hymns  are  said  to 
Iiave  been  written.  The  collection  commonly 
known  as  the  ''Olney  Hymns"  was  their  joint 
production,  seventy-eight  of  them  coming 
from  Cowper's  pen.  '^He  also  translated 
many  of  the  hvmns  of  ^ladame  Guion." 

Cowper's  last  contributions  to  the  ^'Olney 
Hymns"  was  ''God  moves  in  a  mysterious 
way."  It  is  said  that  in  one  of  his  melan- 
choly moods  he  determined  to  end  his  life  by 
drowning,  and  hired  a  post-chaise  to  take  him 
to  a  certain  place  on  the  river  Ouse  where 
the  desperate  deed  was  to  be  accomplished. 
By  some  unaccountable  providence  the  driver 
missed  his  way,  and  so  the  poor  man  returned 
to  his  home  without  having  carried  out  his 
purpose,  whereupon  he  wrote  this  remark- 
able hj'mn.  Probably  this  account  is  more  or 
less  legendary,  although  the  hymn  doubtless 
celebrates  some   remarkable  interposition   of 

223 


HYMNS  THAT  ARE  IMMORTAL 

providence  on  behalf  of  its  author.     Follow- 
ing is  the  full  text  of  the  hymn : 

Ootl  moves  in  a  mysterious  way 

II is  ANOinlers  to  i>erfoi'ni : 
He  plants  His  footsteps  in  the  sea, 

And  rides  upon  the  storm. 

Deep  in  unfathomable  mines 

Of  never-failing  skill, 
He  treasures  up  His  bright  designs. 

And  works  His  sovereign  will. 

Ye  fearful  saints,  fresh  courage  take: 

The  clouds  ye  so  much  dread 
Are  big  with  mercy,  and  shall  1)reak 

In  Vdessings  on  your  head. 

Judge  not  the  Lord  by  feeble  sense, 

But  trust  Him  for  His  grace: 
Behind  a  frowning  providence 

lie  hides  a  smiling  face. 

His  purposes  will  ripen  fast. 

Unfolding  every  hour : 
The  bud  may  have  a  bitter  taste, 

But  sweet  will  be  the  flower. 

Blind  unbelief  is  sure  to  err. 

And  scan  His  work  in  vain  : 
God  is  His  own  interpreter, 

And  He  will  make  it  plain. 

Tune — "Dundee." 

Literary    critics    ojenerally    regard   this   as 

224 


HYMN   OX    DIVKsK   PKOVIDHNCE 

the  siibliiiit'Ht  hyiini  over  written  in  (("lebra- 
tioii  of  divine  ]»r<)vi(lence.  Tlie  late  Tl'onias 
James  P^ield.  an  eminent  authority  on  En<i- 
lisli  literature,  said  of  it:  "To  be  the  author 
of  such  a  hvmn  as  'God  moves  in  a  mvsterious 
way'  is  an  aehievement  that  angels  themselves 
mi<iht  envy."  Montgomery  characterized  it 
as  **a  lyric  of  high  tone  and  character.'' 
"Classable  with  the  best  of  sacred  songs"  and 
'•the  sublimest  of  all  hymns  on  Divine  Provi- 
dence" are  Colonel  Smith's  characterizations 
of  the  production. 

Strangely  enough,  however,  the  hymn  en- 
countered not  only  a  critic  but  a  hypercritic 
in  the  late  Dr.  Richard  Watson,  the  eminent 
theologian,  who,  in  his  "Life  of  Wesley.'' 
I  page  277 1,  mercilessly  deals  with  the  fifth 
stanza.  lie  says:  "This  is  a  figure,  not  only 
not  found  in  sacred  inspired  i)oetry.  but 
which  has  too  much  p)rttinrss  to  be  the 
vehicle  of  a  divine  thought,  and  the  verse  has 
moreover  the  fault  of  an  absurd  antithesis, 
as  well  as  of  false  rhyme.''  Sound  as  Dr. 
Watson,  generally  was  in  matters  of  criti- 
cism, he  seems  to  have  erred  seriously  hei-e. 
At  least  he  has  not  been  sustained  in  his  ver- 
dict by  those  best  competent  to  judge  in  such 
matters  since  his  day.  "The  rhyme  is  allow- 
able," savs  Dr.  Tillett,  "and  the  fii^ure  of  the 

225 


HYMNS  THAT  AKE  IMMORTAL 

bitter-tasting  bud  and  the  sweet-smelling 
flower  is  not  onlv  true  to  nature,  but  admir- 
ably  adapted  to  expressing,  in  fine  poetic  sen- 
timent, the  thought  in  the  mind  of  the  poet: 
'\Vliat  T  do  thou  knowest  not  now,  but  thou 
shalt  know  hereafter/'-  The  hymn  would 
certainly  be  incomplete  without  this  stanza> 
and  it  has  secured  altogether  too  strong  a 
hold  upon  the  Christian  world  to  be  sur- 
rendered because  of  an}-  hypercritical  attacks 
Ihat  may  be  made  upon  it. 

In  1777  this  hymn  appeared  in  the  Gospel 
Magazine,  erroneously  credited  to  ^'^liss  Us- 
sington,  late  of  Islington,  who  died  May 
177r>,''  and  with  the  following  stanza  added: 

*'Wlien  midiiislit  shades  are  all  withdrawn, 
The  opening  day  shall  rise, 
Whose  e^er  calm  and  cloudless  morn 
Shall  know  no  low'ring  skies." 

Who  was  responsible  for  the  error  will  prob- 
ably never  be  known.  The  lady  referred  to 
may  have  composed  the  added  stanza,  and 
this  mav  have  led  to  the  entire  hvmn  being 
unintentionally  ascribed  to  her.  The  added 
stanza  is  no  improvement  of  the  hymn. 

Various  singular  and  suggestive  incidents 
and  associations  cluster  around  this  popular 
Christian  lyric  which  serve  to  illustrate  its 

226 


HYMN  ON  DIVINE   PROVIDENCE 

power  and  value.  "It  was  often  sung  during 
the  cotton  famine"  [in  England,  in  1865,  fol- 
lowing the  Civil  War  in  the  United  States], 
says  ^rr.  Stead,  "and  there  are  few  persons 
who  can  not  recall  times  and  seasons  when 
its  comforting  assurances  helped  to  give  forti- 
tude and  tranquillity  to  the  soul."  During  the 
cotton  famine  referred  to  one  of  the  Lanca- 
shire mill  owners  called  his  emplo^X'S  to- 
gether and  informed  them  that  he  must  close 
the  mills.  To  close  them  meant  his  ow^n  fi- 
nancial ruin,  and  much  suffering  from  pover- 
ty !o  the  operatives.  The  situation  was  such 
a  painful  one,  when  the  announcement  came, 
that  none  could  speak,  and  for  a  time  silence 
reigned.  At  last,  however,  there  rose  out  of 
the  oppressive  stillness  the  clear  voice  of  a 
girl — a  teacher  in  the  Sunday-school — and 
as  she  sang  in  faith  and  hope, 

"Ye  fearful  saints,  fresh  courage  take. 

The  clouds  ye  so  much  dread 
Are  big  with  mercy,  and  shall  break 
In  blessings  on  your  head," 

the  oppressive  spell  was  broken,  and  new 
inspiration  and  hope  took  possession  of  all 
hearts. 

The  late  Dr.  Charles  Cullis,  founder  of  the 
Faith  Cure  Consumptives'  Home  in  Boston, 

227 


HYMNS  THAT  ARE  IMMORTAL 

was  on  one  occasion  in  great  financial  straits 
in  the  midst  of  his  extensive  enterprises.  He 
spread  tlie  matter  before  the  Lord,  and  his 
prayer  was  answered  in  a  remarlvable  way. 
One  man  sent  him  a  four  and  one-half  per 
cent  United  States  bond  for  |1,000  and  a  four 
per  cent  United  Stares  bond  for  |500,  |1,500 
in  all,  saying  this  would  cover  his  subscrip- 
tion, which,  b}^  the  wav,  was  for  |400  only; 
and  in  the  same  mail  came  a  letter  from  an- 
other man,  a  stranger  to  Mr.  Cullis,  enclosing 
|1.00  to  cancel  his  subscription,  and  saying 
tlmt,  although  the  amount  was  small,  the 
Lord  could  multiply  it  a  thousand  fold.  This 
letter  proved  to  have  been  written  before  the 
one  enclosing  the  larger  amount.  The  Lord 
did  indeed  multii)ly  the  smaller  offering  a 
tliousand  fold.  Jn  recording  this  remark- 
able divine  interposition  Dr.  Cullis  concluded 
with  the  words, 

"God  moves   iu   a   mysterious   way 
His  wonders  to  perform." 

Dr.  Russell  H.  Conwell,  in  his  Life  of 
Charles  H.  Spurgeon  relates  the  story  of 
how  Richard  Knill,  a  devout  minister,  on 
visiting  at  the  Spurgeon  home  when  Charles 
was  a  lad,  took  such  an  interest  in  the  boy  as 
left  an  indelible  impress  upon  his  after  life, 

228 


HYMN   OX   DIVINE   PROVIDENCE 

and  how  he  also  predicted  the  boy's  future 
greatness  as  a  preacher,  the  hymn  we  are  con- 
sidering' figuring  conspicuously  in  the  ac- 
count. Mr.  Knill.  it  is  said,  took  the  lad  with 
him  for  quiet  walks  repeatedly,  talked  with 
him  seriously  but  tenderly  on  the  subject  of 
religion,  knelt  and  prayed  with  him,  and  in 
various  ways  exhibited  a  passionate  desire 
to  win  him  for  Christ.  Taking  the  lad  upon 
his  knee  one  dav  he  said :  "I  do  not  know  how 
it  is,  but  I  feel  a  solemn  presentiment  that 
this  child  will  preach  the  gospel  to  thousands, 
and  that  God  will  bless  him  to  many  souls. 
So  sure  am  I  of  this  that  when  he  preaches 
in  Rowland  HilTs  chapel,  as  he  will  do  one 
day,  I  should  like  him  to  promise  me  that  he 
will  give  out  the  hymn  commencing, 

'God  moves  iu  a  mysterious  way 
His  wonders  to  perform.'  " 

Mr.  Knill  desired  young  Spurgeon  to  learn 
the  hymn  by  heart,  regarding  it  as  applicable 
to  the  thini::s  Cod  would  work  out  for  him 
and  through  him  in  his  future  career.  It  is 
said  to  have  been  predicted  by  ^Ir.  Knill  that 
the  lad  in  whom  he  took  so  deep  an  interest 
would  one  day  speak  in  the  largest  church  in 
the  world — a  prophecy  which  was  literally 
fulfilled. 

229 


HYMNS  THAT  ARE  IMMORTAL 

Is  it  not  strange  indeed  that  a  hymn  which 
has  cheered  so  many  thousands  of  troubled 
and  despairing  hearts  should  have  been  the 
production  of  one  who  was  by  nature  melan- 
choly and  a  goodly  portion  of  whose  life  was 
spent  in  dejection  and  under  the  horror  of 
hopeless  despair?  But  so  it  is,  and  this  very 
circumstance  is  both  a  corroboration  and  an 
illustration  of  the  truth  expressed  in  the  first 
cou|)let  of  the  hymn.  Poor  Cowper!  Thou 
didst  teach  us  to  sing, 

"God  is  His  own  interpreter. 
And  He  will  make  it  plain ;" 

and  we  doubt  not  that  he  has  long  ere  this 
made  forever  |)lain  to  thee  the  mystery  of  all 
those  years  of  darkness  and  despair  through 
which  thine  earthly  pathway  led. 

The  following  stanzas  from  Mrs.  Brown- 
ing's touching  and  beautiful  elegy  on  "Cow- 
per's  Grave"  are  appropriate  in  closing: 

"It  is  a  place  where  poets   crowned  may  feed   the 
heart's  decay ini?. 
It  is  a  place  where  happy  saints  may  weep  amid 

their  praying : 
Yet  let  the  grief  and  humbleness,  as  low  as  silence 

languish  I 
Earth  surely  now  may  give  her  calm  to  whom  she 
gave  her  anguish. 

230 


HYMN  OX   DIVIDE   I'KOVIDENCE 


**0  iK)ets!  from  a  mniiiac's  tongue  was  poured  the 

deathless  singiiii^I 
O   Christians  I    at   your   cross   of   hope,   a    hopeless 

hand  was  clinging! 
O  nien  I  this  man  in  brotherhood  your  weary  paths 

heguiling, 
Groaned  inly  while  he  taught  you  peace,  and  died 

while  ye  were  smiling  I 


'With  quiet  sadness  and  no  gloom  I  learn  to  think 

upon  him, 
With  meekness  that  is  gratefulness  to  God  whose 

heaven  hath  won  him — 
Who  suffered  once  the  madness-cloud  to   His  own 

love  to  blind  him  ; 
r»ut  gently  led  the  blind  along  where  breath  and 
bird  could  find  him." 


?3I 


XXIX 

gkrhardt's  nobi,e  hymn  of  trust 

Among  the  numerous  hymns  inciting  to 
steadfast  trust  in  Divine  Providence  probably 
none  has  been  more  extensively  blessed  to 
the  encouragement  and  inspiration  of  tried 
and  tempted  souls  than  I*aul  Gerhardt's 
hymn,  beginning,  as  rendered  into  English 
bv  John  Weslev, 

"Commit  thou  all  thy  griefs 
And  ways  into  His  hands.'' 

It  is  given  in  two  parts  in  the  Hymn  Rook, 
the  second  part  beginning  with  the  lines, 

"(jive  to  the  winds  thy  fears, 
Hope,  and  be  undismayed." 

The  hvmn  is  based  on  Fsalm  87 :  5 :  ^*Com- 
mit  thv  way  unto  the  Lord :  trust  also  in  Him, 
and  He  shall  bring  it  to  pass."  Gerhardt 
composed  it,  in  German,  in  1659,  and  Wes- 
ley translated  it  into  English  in  1739. 

The  full  text  of  Part  First  is  as  follows: 

232 


GEKHAKDT'S  HYMN  OF  TRUST 

Commit  thou  al!  thy  griefs 

And  waj's  into  His  hands. 
To  His  sure  trust  and  tender  care. 

Who  earth  and  heaven  commands : 
Who  points  the  clouds  their  course, 

Whom   winds  and   seas  obey, 
ITe  shall   direct  thy  wanderinc:  feet. 

He  shall  i)rei>are  thy  way. 

Thou  on  the  Lord  rely. 

So  safe  Shalt  thou  go  on. 
Fix  on  His  work  thy  steadfast  eye. 

So  shall  thy  work  be  done. 
No  profit  canst  thou  gain 

By  self-consuming  care ; 
To  Him  commend  thy  cause.  His  ear 

Attends  the  softest  prayer. 

Thine  everlasting  truth, 

Father.  Thy  ceaseless  love. 
Sees  all  Thy  children's  wants,  and  knows 

What  best  for  each  will  prove ; 
And  whatso'er  Thou  will'st. 

Thou  dost,  O  King  of  Kings ! 
What's  Thine  unerring  wisdom's  choice. 

Thy   power  to  being  brings  I 

Thou  everywhere  hast  sway. 

And  all  things  serve  Thy  might ; 
Thine  every  act  pure  blessing  is, 

Thy  path  unsullied  light. 
When  Thou  arisest,  Lord. 

What  shall  Thy  work  withstand? 
When  all  Thy  children  want,   Thou  giv'st ; 

Who,  who  shall  stay  Thy  hand? 

Tune— "Golden  Hill." 


233 


HYMNS  THAT  ARE  IMMORTAL 

"The  origin  of  the  hjmn  is  in  itself  such 
a  remarkable  proof  of  the  blessing  of  trusting 
jn  Providence,  *  *  *  that  it  can  not  be 
omitted  in  this  place.  Paul  Gerhardt  was  a 
preacher  in  Brandenburg,  1659,  and  he  loved 
to  preach  from  his  heart  what  he  believed. 
The  Great  Elector  admonished  him,  and 
threatened  his  banishment  if  he  would  not 
preach  as  the  Elector  desired.  Gerhardt  re- 
turned a  message  to  his  sovereign  that  it 
would  be  hard  to  leave  his  home,  his  people, 
his  countrv  and  his  livelihood ;  but  he  vrould 
only  i^reach  what  he  found  in  the  word  of 
God.  So  into  banishment  he  was  sent,  with 
his  wife  and  children. 

"At  the  end  of  the  first  day's  journey, 
they  rested  at  a  little  inn  for  the  night.  The 
little  ones  were  crying  and  clinging  to  their 
mother,  and  she  also,  overcome  with  fatigue, 
could  not  restrain  her  tears.  The  sad  sight 
gave  Gerhardt  a  very  heavy  heart,  so  he  went 
alone  into  the  dark  wood  to  commend  the 
whole  to  God.  Whilst  there  his  mind  was 
comforted  with  the  text,  ^Commit  thy  way 
unto  the  Lord :  trust  also  in  Him,  and  He 
shall  bring  it  to  pass.'  ^Yes,'  he  said,  ^though 
banished  from  house  and  home,  and  not  know- 
ing where  to  take  my  wife  and  children  on 
the  morrow,  vet  God   sees  me  in   the  dark 

234 


GERflAKDT'S  HYMX   OF  THUST 

Avood;  now  is  the  time  to  ti'ust  Iliin.'  He 
was  so  liappv  that  he  liad  remembered  the 
text,  and  so  thankful  to  God  that  lie  made 
the  text,  in  connection  with  his  saddening 
lot,  into  a  hymn,  as  he  paced  to  and  iro 
among  the  trees.  Every  verse  begins  with 
a  word  or  two  from  the  text,  so  that  if  von 
would  read  the  first  words  of  each  verse  in 
the  German,  yon  just  read  the  text. 

''When  he  returned  into  the  house,  he  told 
his  wife  about  the  text,  and  repeated  to  her 
his  hymn.  She  soon  dried  up  her  tears  (the 
children  having  gone  to  sleei»|,  and  became  as 
liopeful  and  trustful  in  God  as  her  husband. 
They  had  scarcely  retired  to  rest  when  a 
loud  knockintr  was  heard  at  the  door.  The 
landloid,  on  opening  the  door,  found  a  mes- 
senger on  liorseback,  who  said  aloud,  'I  come 
from  Duke  Christian  of  Meresburg,  and  um  in 
search  of  Paul  Gerhardt;  has  he  passed  this 
wav?'  'Yes/  said  the  landlord,  'he  is  in  mv 
house.'  'Let  me  see  him  instantiv,*  said  the 
Duke's  messenger,  A  large  sealed  letter  was 
at  once  handed  to  the  banished  pastor  from 
the  good  T>uke  Christian,  who  said  in  it. 
'Come  into  my  country,  Paul  Gerhardt,  and 
you  shall  have  church,  peo}>le.  house,  home, 
and  livelihood,  and  liberty  to  preach  the  gos- 
pel as  your  heart  may  prompt  you.'  So  the 
Lord  took  care  of  His  servant." 

235 


HYMNS  THAT  ARE  IMMORTAL 

What  a  remarkable  verification  of  the  prom- 
ise contained  in  the  text  so  powerfully  im- 
pressed upon  the  banished  preacher  in  his 
dire  extremity!  What  a  remarkable  illus- 
tration also  of  the  sentiment  expressed  in 
Ihe  entire  hvmn  I  ''Thev  that  trust  in  the 
Lord  shall  never  be  confounded." 

Part  Second,  which  we  regard  as  in  some 
respects  superior  to  Part  First,  breathes  the 
same  sweet  spirit  of  submission  and  trust, 
and  leads  on  our  faith  step  by  step,  and  from 
one  degree  of  strengtii  to  another,  until  all 
doubt,  and  fear,  and  "self-consuming  care" 
are  banished,  and  over  all  the  trusting  soul 
is  "more  than  conqueror.-'  The  text  is  as 
follows : 

Give  to  the  winds  thy  fears ; 

Hope,  aiifl  be  undismayed : 
God  hears  thy  sighs  and  counts  thy  tears : 

God  shall  lift  up  thy  head. 
Through  waves,  through  clouds  and  storms, 

lie  gently  clears  tho  way  : 
Wait  thou  His  time :  so  shall  the  night 

Soon  end  in  joyous  day. 

Still  heavy  is  thy  heart? 

Still  sink  thy  spirits  down? 
Cast  off  the  weight,  let  fear  depart, 

And  every  care  be  gone. 
What  though  thou  rulest  not : 

Yet  heaven,  and  earth,  and  hell. 

236 


GERHARDT'S  HYMN  OF  TRUST 

Proclaim,  God  sittetli  ou  the  throne, 
And  ruletli  all  things  well. 

Leave  to  His  sovereign  sway 

To  choose  and  to  command ; 
So  Shalt  thou,  wondering,  own  His  way, 

How  wise,  how  strong  His  hand  I 
Far,  far  al)ove  thy  thought 

His  counsel  shall  appear. 
When   fully   He  the  work   hath  wrought 

That  caused  thy  needless  fear. 

Thou  seest  our  weakness,  Lord, 

Our  hearts  are  known  to  Thee ; 
O  lift  Thou  up  the  sinking  hand, 

Confirm  the  feeble  knee  I 
Let  us  in  life,  in  death, 

Thy    steadfast   truth    declare ; 
And  publish,  with  our  latest  breath, 

Thy  love  and  guardian   care. 

Xunieroiis  are  the  instances  in  which  this 
sturdy  vet  tender  hymn  has  aHaved  fear, 
banished  anxiety,  alleviated  suffering,  consol- 
ed grief,  inspired  faith  and  kindled  hope  in 
seasons  of  extremity  and  in  the  hour  of  death. 

T\'illiani  Dawson,  the  farmer  Methodist 
preacher  of  Barnbow,  Leeds,  England,  after 
a  useful  career  of  nearly  seventy  years,  was 
suddenly  prostrated  with  a  fatal  illness.  His 
last  utterances  were  the  closing  words  of  this 
admirable  hymn, — 

"Let  us  in  life,  in  death. 

Thy  steadfast  truth  declare." 

237 


HYJVrXS  THAT  ARE  IMMORTAL 

He  attempted  to  repeat  the  closing  couplet — 

"And  publish  with  our  latest  breath 
Thy  love  and  guardian  care," 

but  the  poAver  of  utterance  failed  him,  and, 
with  his  hands  crossed  upon  his  breast  in 
peace,  he  closed  his  eves  on  earth  to  open 
them  in  heaven. 

The  Rev.  Isaac  Bradnack,  a  Weslevan  mis- 
sionary,  born  near  Birmingham.  England,  in 
1774,  after  years  of  usefulness  in  a  foreign 
field,  spent  the  last  few  years  of  life  in  his 
native  land.  During  his  final  illness,  when 
his  strength  failed,  he  saw  his  daughter  at 
his  bedside  weeping.  Suddenly  turning  to 
her  he  said,  with  earnest  look,  *'My  dear 
Betsy,  why  are  you  weeping? 

'Oive  to  the  winds  thy  fears: 

Hoi^e,   and   l)o   undismayed ; 
God  hears  thy  sighs,  and  counts  thy  tears ; 

God  shall  lift  up  thy  head.'  '* 

After  this  he  conversed  with  her  on  the 
subject  of  sanctification,  emphasizing  ''puri- 
fi/ — purify.''  Then,  with  much  energy,  he  re- 
peated— 

"Tlie  fire  our  graces  shall   refine," 

and  soon  afterward  entered  into  the  rest  that 
remaineth  for  the  ])eop]e  of  God. 

238 


OERUARDT'^  HYMN   OF  TRUST 

The  following  "legend  of  the  raven"  is  also 
related  by  Mr.  Stevens  in  his  "Methodist 
Hymn-Book  Illustrated'' :  "In  a  village  near 
Warsaw  there  lived  a  pions  German  i)easant 
named  Dobry.  Without  remedy  he  had  fallen 
into  arrears  of  rent,  and  his  landlord  threat- 
ened to  evict  him.  It  was  winter.  Thrice  he 
appealed  for  a  respite,  but  in  vain.  It  was 
evening,  and  the  next  day  his  family  were  to 
be  turned  out  into  the  snow.  Dobry  kneeled 
down  in  the  midst  of  his  family.  After  pray- 
er they  sang — 

"Commit  Ibou  all  thy  griefs 
And  ways  into  His  hands." 

As  they  came  to  the  verse,  in  German, 

"When  Thou  wouldst  all  our  needs  suppiV, 
Who,  who.  shall  stay  Thy  hand?" 

there  was  a  knock  at  the  window  close  by, 
where  he  knelt,  and  opening  it  Dobry  was 
met  by  a  raven,  one  which  his  grandfather 
had  tamed  and  set  at  libertv.  It  its  bill  was 
a  ring,  set  with  precious  stones.  This  he  took 
to  his  minister,  who  said  at  once  that  it  Ix^- 
longed  to  the  King,  Stanislaus,  to  whom 
he  took  it,  and  related  the  story.  The  king 
sent  for  Dobry,  juid  rewarded  him,   so  that 

239 


HYMNS  THAT  ARE  IMMORTAL 

he  had  no  need,  and  the  next  year  built  him  a 
new  house,  and  gave  him  cattle  from  his  own 
stall.  Over  the  house  door,  on  an  iron  tab- 
let, there  is  carved  a  raven  with  a  ring  in 
its  beak,  and  underneath  this  address  to  Di- 
vine Providence: 

"Tbou  overyvvbere  hast  sway, 

And  all  things  serve  Thy  might; 
Thy  every  act  pure  blessing  is, 
Thy  path  unsullied  light." 


240 


Warfare 


241 


MARTIN  LUTHER. 


XXX 

Luther's  battle-hymx 

To  Martin  Luther,  the  great  reformer,  be- 
longs the  honor  of  liaving  produced  the  great- 
est battle-hymn  of  the  Christian  Church — 

''Eiii   festc   Burg,    ist   miser  Gott," 

the  common  English  rendering  of  which  is, 

"A  mighty  fortress  is  our  God." 

It  was  called  forth  by  the  troubled  and  ex- 
citing times  through  which  its  author  and  his 
fellow-workers  passed  in  the  midst  of  the 
great  Reformation  of  the  sixteenth  century, 
and  has  been  appropriately  characterized  by 
Heinrich  Heine  as  "the  Marsellaise  of  the 
Keformation.'' 

Numerous  translations  of  this  hymn  into 
English  have  been  attempted,  but  those  best 
competent  to  judge  affirm  that  but  two  really 
successful  renderings  have  appeared,  the  first 
by  Thomas  Carlyle,  printed  in  his  "Luther's 
Psalm,"  in   1881.  and   the  other  by  the  Rev. 

243 


HY:\I^S  THAT  ARE  IMMORTAL 

Frederick  Henrv  Hedge,  a  Unitarian  clergy- 
man of  the  United  States,  in  1852,  which  ap- 
peared in  the  second  edition  of  Dr.  Furness's 
^'Gems  of  German  Verse."  In  1853  Dr.  Hedge 
included  it  in  his  "Hymns  for  the  Church  of 
Christ"  in  the  form  in  which  it  now  appears 
in  various  church  hvmnals.  Although  Car- 
Ivle's  translation  is  in  several  respects  the 
best  English  rendering,  yet  Dr.  Hedge's  is 
the  more  commonly  found  in  English  and 
American  hymn-books,  being  the  better  adapt- 
ed for  use  in  the  song  services  of  the  Church. 
This  translation  is  as  follows: 

A  mighty  fortress  is  our  God, 

A  bulwark  never  failing; 
Our  helper  He  amid  the  flood 

Of  mortal  ills  prevailing: 
For  still  our  ancient  foe 
Doth  seek  to  work  us  woe ; 
His  craft  and  power  are  great 
And,  armed  with  cruel  hate, 

On  earth  is  not  his  equal. 

Did  we  in  our  own  strength  confide, 

Our  striving  would  be  losing ; 
Were  not  tlie  right  ]Man  on  our  side. 

The  Man  of  God's  own  choosing: 
Dost  ask  who  that  may  be? 
Christ  Jesus,  it  is  lie; 
Lord  Sabaoth-  is  Tlis  name. 
From  age  to  age  the  same, 

And  He  must  win  the  battle. 

244 


LUTHER'S  BATTLE  HYMN 

And  tliouirb  this  world,   with   devils   filled, 

Should  threaten  to  undo  us  ; 
We  will  not  fear,  for  God  hath  willed 

His  truth  to  triumph  through  us : 
The  prince  of  darkness  grim, — 
We  tremble  not  for  him ; 
His  rage  we  can  endure, 
For  lo !  his  doom  is  sure, 

One  little  word  shall  fell  him. 

That  word  above  all  earthly  powers, 

No  thanks  to  them,  abideth  ; 
The  Spirit  and  the  gifts  are  ours 

Through  Him  who  with  us  aideth : 
Let  goods  and  kindred  go, 
This  mortal  life  also; 
The  body  they  may  kill : 
God's  truth  abideth  still. 

His  kingdom  is  for  ever. 

Tune — "Ein  Feste  Burg." 

The  traditional  account  of  the  origin  of 
this  hymnic  masterpiece  gives  Liitlier's  jour- 
ney to  the  Diet  of  Worms  as  the  occasion  of 
its  composition.  It  was  on  this  journey  that 
Luther,  warned  by  a  messenger  from  Spahitin 
not  to  enter  the  city,  sent  back  by  the  same 
messenger  the  reply,  ^'Were  there  as  many 
deyils  in  Worms  as  there  are  tiles  on  the 
roofs  of  the  houses,  T  would  go  and  not  be 
afraid.  If  Huss  was  burnt  to  ashes,  the 
truth  was  not  burnt  with  him."  The  same 
sentiment  occuiTing  in  the  third  stanza  of 
the  hymn  seems  to  ha^'e  given  currency  to  the 

245 


HYMX8  THAT  ARE  IMMORTAL 

popularly  received  account  of  its  origin. 
Stroni*-  as  the  temptation  is,  however,  to  as- 
sociate the  composition  of  the  hymn  with  the 
momentous  occasion  referred  to,  it  is  im- 
})robal)le  that  it  originated  on  that  occasion, 
since  the  hymn  does  not  appear  among  Lu- 
ther's earlier  hymns  as  published  in  1524, 
three  years  after  the  convocation  of  the  as- 
semblv  known  as  the  Diet  of  Worms. 

In  his  "History  of  the  Reformation"  J. 
Merle  d'Aubigne  with  much  assurance  gives 
the  journey  to  the  Diet  of  Augsburg  in  1530 
as  the  occasion  on  which  the  hymn  was  com- 
])Osed.  Tu  Rook  XIV.  of  the  single  volume 
edition  of  that  remarkable  work,  on  page  474, 
its  brilliant  author  tells  us  that  Luther,  in 
company  with  John  the  Elector  of  Saxony, 
was  on  his  way  to  the  Augsburg  assembly 
when  he  wrote  the  hymn,  and  describes  the 
srene  in  detail  as  follows:  "John  began  his 
journey  on  the  third  of  April,  with  one  hun- 
dred and  sixty  horsemen,  clad  in  rich  scarlet  * 
cloaks,  embroidered  with  gold.  Every  man 
was  aware  of  the  dangers  that  threatened 
the  Elector,  and  hence  many  in  his  escort 
marched  with  downcast  eyes  and  sinking 
f^earts.  But  Luther,  full  of  faith,  revived  the 
com^age  of  his  friends,  by  composing  and  sing- 
ing with  his  fine  voice  tluit  beautiful  hymn, 
since  become  so  famous: 

246 


u;thi:k's  p>attijvHYmx 

Ein   frsic  Bmfi   ht    UHscr  Oott. 

Oiii'  (iud  is  a  Strong-  lower.  Xever  did  .soul 
that  knew  its  own  weakness,  but  wliich,  look- 
inji'  to  God.  despises  every  fear,  find  sueli 
noble  accents." 

l>ee]>ly  interesting  as  this  account  is.  and 
niucli  as  we  may  dislike  to  think  of  the  re- 
nowned and  usually  accurate  D'Aubigne  as 
in  error  in  the  foregoing  descrii)tion,  it  is 
true  nevertheless  that  the  facts  do  not, 
upon  close  investigation,  warrant  the  account 
given.  In  tlie  first  place  the  very  character 
of  the  hymn,  as  also  Luther's  painstaking  ef- 
forts in  all  his  lyrical  compositions,  forbid 
our  belief  that  this  matchless  masterpiece  was 
an  impromptu  production.  Another  consid- 
eration fatal  to  the  foregoing  account  is  the 
fact,  established  by  the  investigation  of  hym- 
nologists.  that  before  the  date  of  the  Diet  of 
Augsburg  Luther's  immortal  battle-hymn  had 
already  appeared  in  print.  That  Luther  sang 
it  to  revive  the  courage  of  his  friends  on  their 
way  to  the  Diet  of  Augsburg  is  every  way 
])robable,  but  that  he  comi)osed  it  on  that 
occasion  is  equally  incredible.  From  the  fact 
of  its  having  been  sung  under  the  foregoing 
circumstances,  and  also  in  view  of  its  not 
then  being  in  as  common  use  as  it  was  later, 
it  is  not  strange  that  its  composition  came 

247 


HYMNS  THAT  ARE  IMMORTAL 

to  be  popularly  ascribed  to  the  same  occasion. 
Another  account  quite  generally  accepted 
by  hymnologists  says  that  ''Luther  composed 
it  for  the  Diet  of  Spires,  when,  on  April  20, 
1529,  the  German  princes  made  their  formal 
protest  against  the  reyocation  of  their  liber- 
ties, and  so  became  kno\\n  as  Protestants." 

''Various  monographs  haye  been  publish- 
ed," says  Dr.  Benson  in  his  ''Studies  of  Famil- 
iar Hymns,"  ''adyocating  other  dates  and  oc- 
casions. L^ndeterred  by  these,  Scherer,  the  re- 
cent historian  of  German  Literature,  states 
with  entire  confidence  that  the  hymn  was 
written  in  October,  1527,  at  the  approach  of 
the  plague.  Luther's  biographer,  Julius  Kost- 
lin,  in  the  later  editions  of  the  Life,  accej)ts 
that  date  as  probably  correct.  And  with  that 
probability  we  must  rest." 

While  this  seems  to  settle  the  matter  sat- 
isfactorily to  Dr.  Benson,  we  must  insist  that 
internal  eyidences  seem  to  indicate  that  the 
hymn  was  written  in  anticipation  or  on  the 
occasion  of  some  great  crisis  connected  with 
the  progress  of  the  Reformation.  There  are 
many  expressions  in  the  hymn  that  lose  in 
significance  when  interpreted  on  any  other 
ground,  and  there  is  little  that  can  be  re- 
garded as  applicable  to  the  yisitation  of  the 
jilague  without  torturing  it  out  of  its  most 

248 


LUTHER'S  BATTLE-HYMX 

natural  meaDing.  AVe  are  still  inclined  to 
think  tlie  second  Diet  of  Spires  was  the  oc- 
casion which  called  it  forth. 

For  the  benefit  of  those  readers  who,  being 
familiar  with  the  German  tongue,  will  aj)- 
predate  the  hymn  much  more  in  the  original 
than  in  anv  of  its  translated  forms,  the  Ger- 
man  text  will  here  be  presented,  as  found  in 
Julian's  "Dictionary  of  Hvmnologv'' : 

Eiu'  feste  Burg  ist  unser  Gott. 

ein  giite  webr  und  Avaffen. 
Er  hilfft  unns  frey  aus  aller  not 
die  uns  ytzt  hat  betroffen, 
Der  alt  buse  feind 
mit  ei'DSt  ers  ytzt  meint, 
gros  macbt  und  viel  list 
sein  grausam  riistung  ist, 
auf  erd  ist  nicht  seins  gleichen. 

Mit  unser  macht  ist  nicbts  getban, 

wir  sind  gar  bald  veloren ; 
Es  streit  fur  uns  der  recbte  man, 
den  Gott  bat  selbs  erkoren. 
Fragstu,  wer  der  ist? 
er  heist  Jbesvi  Christ 
der  Herr  zebaotb, 
und  ist  kein  ander  Gott, 
das  felt  Liis  er  bebalten. 

Und  wen  die  welt  vol  Teuffell  wehr 
und  wort  uns  gar  verscbliugen 

249 


TIYMXS  THAT  AUK   LMMOKTAL 

So  fiircbteii  wir  mis  nk-lit  zii  sehr 
OS  sol  iins  docli  gelingeii. 

Der  Fiirst  dieser  welt. 

wie  sawr  er  sich  stellt. 

tliut  er  uiiiis  (loch  nicbt, 

das  macht,  ei*  1st  gericht, 
ein  wortlin  kaii  ybn  follen. 

Das  wort  sie  sollen  lassen  stahii 

imd  keiu  daiick  dazii  liabeii. 
Er  ist  bey  luiiis  wol  auff  deiu  plan 
init  seinem  geist  und  gabeii. 
Xemen   sie  den,   leib. 
gut,  ebr,  kindt  mind  wfib 
las  faren  dabin, 
sie  babeiis  kein  gewin. 
das  reicb  nms  nns  dodi  hleiben. 

Tlie  Refonuatioii  of  the  sixteenth  century 
marks  an  entirely  new  era  in  riiristian  hvm- 
nodv — an  era  riclier  and  more  influential  in 
Its  lyrical  productions  than  any  other  in  the 
history  of  Christianity.  Luther  was  the  chief 
inspiration  of  this  new  era,  in  its  earlier 
years,  as  he  was  the  leading  sjiirit  and  the 
chief  insj)iration  of  the  great  Reformation  it- 
self. "It  is  my  intention,  after  the  example 
of  the  Fa  tilers,"  he  said  in  writing  to  Georg 
Spalatin,  liis  friend  and  fellow-laborer,  '"to 
make  German  Psalms  for  the  i)eople;  that  is 
to  say,  sj)iritual  songs,  whereby  the  word  of 
God  may  be  kept  aliye  among  them  by  sing- 

250 


Ll'THKirs   r,ATTLlvHYMN 

m*^.  We  seek,  lliei'efore,  everywhere  for 
poets.  Now  as  yon  are  siuli  a  master  of  the 
(lernian  language,  and  are  so  mighty  and 
eU)qnent  therein,  T  entreat  yon  to  join  hands 
with  ns  in  this  work,  and  to  turn  one  of  the 
Psalms  into  a  hymn  according  to  the  pattern 
I /.  r.,  an  attempt  of  my  own),  that  I  send 
von.  l>nt  1  desire  that  all  new-fangled  words 
from  the  court  be  left  out;  that  the  words 
may  be  quite  plain  and  common,  such  as  com- 
mon people  may  understand,  yet  ])ure  and 
skilfully  handled ;  and  next  that  the  meaning 
should  be  given  clearly  and  graciously,  ac- 
cording to  the  sense  of  the  Psalm  itself 
("Hymns  Historically  Famous"). 

As  Luther  was  the  chief  inspirer  of  this 
new  era  in  Christian  hvmnodv,  so  his  *'Ein 
feste  Burg  ist  unser  Oott"  was  the  climax  of 
his  own  lyrical  contributions  to  the  literature 
of  the  Reformation  period.  He  is  generally 
believed  to  have  composed  the  majestic  tune 
to  which  the  hymn  has  ever  since  been  sung, 
and  both  hymn  and  tune  seem  to  have  been 
especially  inspired  for  strengthening  the 
faith  and  stimulating  the  courage  of  the  re- 
formers during  the  long,  fierce  conflict  they 
endured  in  defense  and  promulgation  of  those 
essential  tiMiths  which  the  Reformation  rej)- 
resented,     P>eing  a  fine  singer  and  a  skilful 

251 


HYMNS  THAT  ARE  IMMORTAL 

composer,  and  possessing  a  high  degree  of 
magnetic  enthusiasm  in  urging  congrega- 
tional singing  upon  the  people,  he  gave  re- 
markable zest  to  the  singing  of  the  German 
nation,  and,  in  a  corresponding  degree,  called 
forth  and  enlisted  in  the  cause  he  represent- 
ed the  best  hvmn-making  talent  of  the  coun- 
try. "A  Mighty  Fortress  is  Our  God"  be- 
came  the  battle-song,  however,  of  those  dark 
and  troubled  times,  and  exerted  an  influence 
upon  the  German  people  bevond  all  computa- 
tion. 

''In  the  life  and  death  struggle  that  fol- 
lowed [the  protestation  of  the  German 
princes  against  the  revocation  of  their  lib- 
erties at  the  second  Diet  of  Spires],  it  was 
a  clarion  summoning  all  faithful  souls  to  do 
battle,  without  fear,  against  the  insulting 
foe.  Luther  sang  it  to  the  lute  every  day. 
It  was  the  spiritual  and  national  tonic  of 
Germany,  administered  in  those  dolorous 
times  as  doctors  administer  quinine  to  so- 
journers in  fever-haunted  marshes.  Every 
one  sang  it,  old  and  young,  children  in  the 
{^itreet.  soldiers  on  the  battlefield.  The  more 
heavily  hit  they  were,  the  more  tenaciously 
did  the}^  cherish  the  song  that  assured  them 
of    ultimate  victory.     When  Melancthon  and 

t. 

his  friends,  after  Luther's  death,  were  sent 

252 


LUTHER'S  BATTLE-HYMN 

into  banishment,  tliey  were  marvelouslv 
cheered  as  they  entered  Weimar  on  hearing 
a  girl  sing  Luther's  hymn  in  the  street.  'Sing 
on,  dear  daughter  mine,'  said  Melancthon; 
'thou  knowest  not  what  comfort  thou  bring- 
est  to  our  heart'"  (Stead). 

Luther  sang  it  often  as  an  expression  and 
inspiration  of  his  faith  during  the  pro- 
tracted session  of  the  Diet  of  Augsburg  in 
li5.30,  and  it  soon  became  a  favorite  psalm 
with  the  German  people,  the  strains  of  which 
daily  ascended  up  to  heaven  alike  from  the 
palaces  of  princes  and  humbler  dwellings  of 
the  i)oor.  "It  was  sung  by  poor  Protestant 
emigrants  on  their  way  into  exile,  and  by 
martyrs  at  their  death.  It  is  woven  into  the 
web  of  the  history  of  Reformation  times,  and 
it  became  the  true  national  hjmn  of  Protes- 
tant Germany." 

I. 

The  associations  of  this  hymn,  during  its 
subsequent  history  are  full  of  interest  and 
serve  to  illustrate  its  remarkable  influence 
and  incomparable  value.  In  1031,  more  than 
a  hundred  years  after  its  composition,  Gus- 
tavus  Adolphus,  on  the  eve  of  his  great 
and  decisive  victory  over  the  Roman  Cath- 
olic forces  at  Leipsic,  requested  his  soldiers 
to  sing  this  hymn  of  the  great  reformer; 
and  after  the  gaining  of  the  victory  he  thank- 

253 


HYMNS  THAT  ARE  IMMORTAL 

ed  God  for  having  made  good  the  promise 
expressed  in  the  words,  ''The  field  he  will 
maintain  it."  On  the  field  of  that  same  bat- 
tle the  hymn  was  repeated,  more  than  two 
hundred  years  later,  by  the  multitude  as- 
sembled at  the  jubilee  of  the  Gustavus  Adol- 
phas  Association.  "Again,**  says  Dr.  Ben- 
son, "it  was  the  battle  livmn  of  his  armv  at 
Liitzen,  in  1632,  in  which  the  king  was  slain, 
but  his  arm.v  won  tlie  victory.  It  has  had  a 
part  in  countless  celebrations  commemora- 
ting the  men  and  events  of  the  Reformation ; 
and  its  first  line  is  engraved  on  the  base  of 
Luther's  monument  at  Wittenburg.  And  it 
is  still  dear  to  the  German  people;  one  of  the 
hymns  lodged  in  their  memories  and  hearts, 
ready  for  the  occasion.  An  imperishable 
hymn  I  not  polished  and  artistically  wrought, 
but  rugged  and  strong  like  Luther  himself, 
whose  very  words  seem  like  deeds.'' 

David  Xitschmann.a  Moravian  bishop,  was 
one  of  the  passengers  on  board  the  ship  in 
which  John  AA'esley  sailed  for  Georgia  in 
1735.  He  was  then  about  sixty  years  of  age. 
"In  1720,"  says  Tyerman,  in  his  "Life  and 
Times  of  Wesley,"  "a  remarkable  revival  of 
religion  took  place  in  the  town  where  David 
lived ;  but,  by  the  intervention  of  the  Jesuits, 
the  meetings  of  the  new  converts  were  pro- 

254 


LfTHEKS   BATTLE-HYMX 

hibited,  and  many  who  attended  them  were 
imprisoned  in  stables,  ceHars  and  other  of- 
fensive phices.  A  police  officer  entered  Nitsch- 
mann's  house,  where  one  hundred  and  fifty 
of  these  godly  people  were  assembled,  and 
seized  all  the  books  within  his  reach.  The 
congregation  at  once  strnck  up  a  stanza  of 
one  of  Luther's  hymns  [Ein  feste  Burg']  : 

'If  the   whole   world   with  devils  swarmed, 

That  threatened  ns  to  swallow. 
We  will  not  fear,  for  we  are  armed. 
And  victory  will   follow.* 

Twenty  persons,  including  David,  all  heads 
of  respectable  families,  were  arrested  and 
sent  to  jail.  For  three  days  David  was  de- 
prived of  food,  and  was  so  cruelly  ironed  that 
the  blood  spurted  from  his  nose  and  mouth, 
and  oozed  from  his  very  pores.  After  some 
time  he  escaped  from  his  horrid  dungeon,  and 
fled  to  his  friends  at  Hernhutt." 

A  hvmn  that  can  brace  and  sustain  faith 
and  make  it  triumphant  in  such  conditions 
must  have  in  it  the  element  of  a  divine  in- 
spiration that  will  make  it  live  forever. 


255 


XXXI 

PROCESSIONAL    HYMN 

Wherever  the  English  tongue  is  a  medium 
for  the  worship  of  God  there  old  and  young 
alike  and  together  sing,  with  an  enthusiasm 
that  kindles  to  an  ever  intenseir  glow  as  the 
music  moves  toward  its  culmination,  the  Rev. 
S.  Baring-Gould's  grand  I*rocessional  Hymn, 
of  which  the  following  is  the  text : 

Onward,  Christian  soldiers! 

Marching  as  to  war, 
With  the  cross  of  Jesus, 

Going  on  before. 
Christ,  the  Royal  Master, 
Leads  against  the  foe; 
Forward  into  battle 
See  His  banners  go. 

Onward,    Christian    soldiers, 

Marching  as  to  war, 
With  the  cross  of  Jesus 
Going  on  before. 

At  the  sign  of  triumph 

Satan's  host  doth  flee ; 
On  then,  Christian  soldiers, 

On  to  victory : 

256 


i»roceSkSIOxal  hymn 

Hell's  fonndations   quiver 

At  the  shout  of  praise : 
Brothers,  lift  your  voices, 

Loud  your  anthem  raise. 
Onward,  etc. 

Like  a  mighty  army 

Moves  the  Church  of  God ; 
Brothers,  we  are  treading 

Where  the  saints  have  trod ; 
We  are  not  divided, 

All  one  hody  we, 
One  in  hope  and  doctrine, 

One  in  charity. 
Onward,  etc. 

Crowns  and  thrones  may  perish. 

Kingdoms  rise  and  wane, 
But  the  Church  of  Jesus 

Constant  will  remain : 
Gates  of  hell  can  never 

'Gainst  the  Church  prevail : 
We  have  Christ's  own  promise. 

And  that  cannot  fail. 
On\^•ard,  etc. 

Onward  then,  ye  people. 

Join  our  happy  throng, 
Blend  with  ours  your  voices 

In  the  triumph-song  ; 
Glory,  laud  and  honor 

Unto  Christ,  the  King ; 
This  through  countless  ages 

Men  and  angels  sing. 
Onward,  etc. 

Tune— "St.   Gertrude." 

257 


IIVMNi^  THAT  ARE  IMMORTAL 

The  Rev.  Sabine  Bai*ing;-Gould,  author  of 
the  hymn,  is  a  prominent  clergyman  of  the 
dnircli  of  England.  He  was  born  at  Exeter, 
in  ISiU;  graduated,  as  Master  of  Arts,  at 
('hire  College.  Oxford,  in  1856;  ordained  as 
Deacon  in  18G4  and  as  Priest  in  18G5 ;  made  in- 
cumbent at  Dal  ton  in  18G6,  and  rector  at  East 
^lersea  in  1871.  At  the  death  of  his  father, 
ICdward  Baring-Gould,  in  1872,  he  succeeded 
to  the  family  estate  at  Lew-Trenchard, 
Devonshire,  which  has  been  the  family  seat 
foi"  o\er  three  hundred  years.  He  became 
rector  at  Lew-Trenchard  in  1881.  He  is  a 
])rolific  writer,  having  published  more  than  a 
score  of  volumes  from  his  own  pen.  He  is  a 
master  in  the  realm  of  '^legendary  and  folk 
lore,  antiquities  and  out-of-the-way  informa- 
tion, of  Avhich  he  is  himself  a  living  encyclo- 
pedia.-' His  ''Curious  Myths  of  the  ^liddle 
Ages''  is  one  of  his  most  widely  known  pro- 
ductions. It  has  been  his  custom  for  some 
time  io  produce  a  new  work  of  fiction  every 
year,  and  his  works  are  said  to  have  greater 
Ijopularity  in  England  than  any  others  of 
their  class.  He  has  published  several  vol- 
umes of  sermons,  which  are  well  received, 
and  is  also  the  author  of  a  number  of  excel- 
lent hymns,  of  which  "Onward.  Christian 
Soldiers,''  is  the  most  popular. 

258 


rROCES8IONAL  HYMN 

Mr.  Bai-ing-Oould  has  given  the  following 
account  of  how  his  popular  Processional 
Hvnin  came  into  existence:  ''It  was  written 
in  a  very  simple  fashion,  without  a  thought 
of  publication.  Whitmonday  is  a  great  day 
for  school  festivities  in  Yorkshire,  and  one 
Whitmonday  it  was  arranged  that  our  school 
should  join  its  forces  with  that  of  a  neigh- 
boring village.  I  wanted  the  children  to  sing 
Avhen  marching  from  one  village  to  another, 
but  couldn't  think  of  anything  quite  suit- 
able, so  T  sat  up  at  night  resolved  to  TSTite 
somethins:  mvself.  'Onward,  Christian  Sol- 
diers,'  was  the  result.  It  was  written  in  great 
haste,  and  I  am  afraid  some  of  the  rhvmes  are 
faulty.  Certainly  nothing  has  surprised  me 
more  than  its  great  popularity.'' 

A  processional  hymn  is  one  suited  to  a 
marching  movement,  and  Mr.  Baring-Gould's 
vigorous  and  inspiring  stanzas  most  adrair- 
ablv  meet  the  demand  for  such  a  hvmn.  Hence 
its  almost  universal  use,  and  its  great  popu- 
larity with  Americans  in  particular.  "It  has 
been  taken  up  all  the  world  over,"  says  Dr. 
Robinson,  "and  with  either  Haydn's  or  Sulli- 
van's music  set  to  it,  it  constitutes  the  best 
maa^ching  hymn  for  children  or  adults  known 
to  this  generation.  It  meets  the  American 
ideal,   mechanically    speaking,   in   that   it   is. 

259 


HY:kIXS  THAT  ARE  IMMORTAL 

simple,  rythmical,  lyric,  and  has  a  refrain 
at  the  end  of  each  stanza.  That  has  given  to 
it  an  extensive  popularity  and  use." 

The  hymn  was  written  in  1865,  and,  in  its 
original  form,  contained  six  stanzas,  what 
was  then  the  fourth  being  now  generally 
omitted.    The  omitted  stanza  runs  as  follows : 

"What  the  saints  established 

That  I  hohl  for  true, 
What  the  saints  believed 

That  believe  I  too. 
Long  as  earth  endureth 

Men  that  faith  will  hold, — 
Kingdoms,  nations,  empires, 

In  destruction  rolled." 

Its  poetry  scarcely  compares  with  that  of 
the  other  stanzas,  and  this  may  be  what  the 
author  had  in  mind  when  expressing  his  own 
fears  that  some  of  the  rhymes  were  faulty. 
The  hymn  seems  quite  complete  without  it, 
and  its  omission  therefore  is  not  only  ex- 
cusable but  wise.  The  hymn  has  obtained  a 
popularity  which  seems  to  make  for  its  im- 
mortality. "•If  it  should  ever  drop  out  of 
use,"  says  Dr.  Benson,  ''that  result  would 
l)robably  come  about  through  sheer  weariness 
caused  by  over-repetition." 


260 


I 


I 


Missions 


261 


XXXII 

THE    PRINCK    OF    MISSIONARY    HYMNS 

Of  all  livmns  ever  written  in  the  interest 
of  foreij^u  missions  the  chief  place  must  be 
given  to  Bishop  Heber's  princely  lyric, 

"From  Greeulaud's  icy  uioimtains." 

Eternitv  alone  will  reveal  the  extent  to 
which  the  cause  of  world-wide  evangeliza- 
tion has  been  furthered  by  the  instrumental- 
itv  of  this  noble  i)roduction.  Oft  as  the  storv 
of  its  origin  has  been  related  it  will  bear  an- 
othei'  repetition  here. 

Early  in  the  year  1811)  a  royal  letter  was 
issued  authorizing  special  collections  to  be 
taken  in  every  church  and  chapel  of  Great 
Britain  for  the  aid  of  foreign  missions.  Whit- 
sunday of  that  year  fell  on  the  30th  of  May, 
and  on  that  occasion  Dr.  Shii)ley,  Dean  of  8t. 
Asaph,  was  to  take  the  offering  for  missions 
in  the  parish  church  of  Wrexham,  of  which 
he  was  ihe  vicar.  He  had  also  arranged  for 
a  course  of  Sunday  evening  lectures  in  his 
church  to  begin  on  the  evening  of  that  day, 

263  • 


HYMNS  THAT  ARE  IMMORTAL 

and  his  son-in-law,  the  Rev.  Reginald  Heber, 
then  rector  at  Hodnet,  and  later  Bishop  of 
Calcutta,  was  present  to  deliver  the  opening 
lecture. 

Sometime  during  the  previous  day  the 
Dean,  his  son-in-law,  and  a  few  others  were 
together  in  the  vicarage,  when  the  Dean  ask- 
ed Heber  to  write  '^something  for  them  to 
sing  in  the  morning."  He  retired  at  once 
to  another  part  of  the  room  and  seated  him- 
self to  his  task.  After  a  short  time  the 
Dean  inquired,  ''^Vhat  have  3'ou  written?" 
Having  written  the  first  three  stanzas  of  the 
hymn,  Heber  read  them  over.  'There,  that 
will  do,"  said  the  Dean.  *'No,  no,"  replied 
Heber,  "the  sense  is  not  complete,"  and  pro- 
ceeded to  add  the  fourth  stanza.  He  would 
have  written  more  had  not  the  Dean  been 
inexorable  to  his  repeated  request  of  "Let  me 
add  another,  O  let  me  add  another."  So  with 
the  fourth  stanza  he  completed  the  hymn 
which  has  since  become  so  widely  and  justly 
celebrated.  It  was  sung  the  next  morning  in 
the  Wrexham  church,  tradition  says  to  an 
old  ballad  tune,  "  'Twas  when  the  seas  were 
roaring,"  and  that  was  the  beginning  of  its 
marvelous  history. 

The  following  is  the  text  of  the  hymn, 
altered  but  slightly  from  its  original  form : 

264 


PRIXOE  OF  MISSIONARY  HYMNS 

From  Greenland's  icy  mountains, 
From  India's  coral  strand, 
Where   Afric's   sunny   fountains 
Roll  down  their  golden  sand. 
From  many  an  ancient  river, 

From  many  a  palmy  plain. 
They  call  us  to  deliver 
Their  land  from  error's  chain. 

What  though  the  spicy  breezes 

Blow  soft  o'er  Ceylon's  isle ; 
Though  every  prospect  pleases, 

And  only  man  is  vile : 
In  vain  with  lavish  kindness 

The  gifts  of  God  are  strown : 
The  heathen  in  his  blindness 

Bows  down  to  wood  and  stone. 

Can  we,  whose  souls  are  lighted 

With  wisdom  from  on  high. 
Can  we  to  men  benighted 

The  lamp  of  life  deny? 
Salvation  I  O  salvation  I 

The  joyful  sound  proclaim, 
Till  each  remotest  nation 

Has  learned  Messiah's  Name. 

Waft,  waft,  ye  winds  His  story. 

And  you,  ye  waters,  roll. 
Till  like  a  sea  of  glory 

Tt  spreads  from  pole  to  pole ; 
Till  o'er  our  ransomed  nature 
The  Lamb  for  sinners  slain. 
Redeemer,  King,  Creator, 
In  bliss  returns  to  reign. 

Tune — "Missionary  Hymn." 

265 


HYMXS  THAT  ARE  IMMORTAL 

The  tune  to  which  this  great  hymn  is  now 
generally  sung  has  had  much  to  do  with  the 
usefulness  of  the  hymn,  and  it  has  a  history 
in  interest  equal  to  that  of  the  hymn  itself, 
In  February,  1823,  the  hymn  found  its  way 
to  this  counti\v  and  appeared  in  the  Chris- 
iian  Ohscrvcr.  Through  this  circumstance  it 
fell  under  the  eye  of  Miss  Mary  W.  Howard, 
a  lady  living  in  Savannah,  Georgia,  who  saw 
in  it  great  jmssibilities,  and  eagerly  desired 
1o  have  it  sung  in  worship.  She  could  find 
no  tune  for  it,  however^  that  seemed  apjjro- 
priate.  Finally  she  called  to  mind  a  young 
bank  clerk  in  the  city  who  had  some  local 
reputation  as  a  composer  of  church  music.  To 
him  she  sent  a  copy  of  the  hymn  with  a  note 
requesting  him  to  furnish  for  it  an  appropri- 
ate tune.  In  response  he  composed  for  it, 
within  half  an  hour,  as  the  story  goes,  the 
now  famous  tune  "Missionary  Hymn,''  which 
he  had  printed  as  sheet  music,  bearing  the 
inscription,  "Composed  for  and  Dedicated  to 
Miss  Mary  W.  Howard,  of  Savannah,  Geor- 
gia." That  young  bank  clerk  was  Lowell 
Mason,  then  a  little  past  thirty  years  of  age, 
who  was  destined  to  become  the  foremost 
composer  of  sacred  music  ever  produced  in 
this  country.  The  hymn  and  tune,  having 
been  most  fortunately  wedded,  have  ever  helj)- 

266 


PRINCE  OF  MTSSIOXARY  HYMXS 

I  '  I     : 

ed  to  popularize  each  other.  They  have  sim^ 
themselves  around  the  world  repeatedly,  and 
the  appropriateness  of  their  union  is  to-day 
more  widely  recognized  than  ever.  l^>oth  aj*- 
pear  to  have  been  born  of  a  sudden  inspira- 
tion, and  encli  ;is  tlio  cdunterjiart  of  Ihe 
other. 

As  interest  in  foreign  missionary  work  in- 
creases throughout  Christendom  IJishop  lle- 
ber's  hymn  has  an  ever  widening  sj)here  of  in- 
fluence, and  an  ever  growing  ]»opularity.  As 
an  incitement  to  self-sacrificing  endeavor  in 
the  interest  of  world-wide  evangelization  it 
is  without  an  equal.  The  last  stanza  in  par- 
ticular is  ^'a  glorious  bugle  blast  wliich  rings 
like  the  recclUe  of  the  millennial  morning ;'' 
and  the  whole  hymn  has  been  most  aptly 
characterized  bv  Dr.  Theodore  L.  Cuvler  as 
"the  marching  music  to  which  Christ's  hosts 
keep  step  as  they  advance  to  the  conquest  of 
the  world." 

It  is  said  that  during  the  great  revival  of 
1858-59  a  number  of  converted  sailors  on 
board  the  steamshi})  North  Carolina  were 
conferring  together  regarding  the  various 
lands  in  which  they  were  born.  When  it  was 
discovered  that  they  represented  ten  differ- 
ent countries^  and  that  the  last  one  who  had 
spoken  was  born  in  Creenland.  unable  longer 

267 


HYMXS  THAT  ARE    IMMORTAL 

to  restrain  tlieir  emotions,  one  of  them  led 
and  the  rest  simultaneously  joined  in  singing, 

"From  Greenland's  icy  mountains, 

From   India's  coral  strand, 
Where  Afric's  sunny  fountaina^ 

Roll  down  their  golden  sand ; 
From  many  an  ancient  river, 

From  many  a  palmy  plain, 
They  call  us  to  deliver 

Their   land  from  error's   chain." 

We  can  easily  imapne  with  what  a  joyous 
feryor  those  hardy  seamen,  hailing  from  so 
many  widely  separated  parts  of  the  world, 
so  recently  rescued  from  their  liyes  of  sin, 
and  now  filled  with  the  peace  and  joy  of  di- 
yine  acceptance,  made  the  strains  of  this 
grand  old  hymn  ring  out  oyer  the  waters  on 
which  they  sailed. 

In  the  year  1852  Bishop  Andrew,  of  the 
Methodist  Episcopal  Church,  sent  out  from 
the  South  Carolina  conference  two  preachers 
to  represent  and  establish  the  work  of  his 
denomination  on  the  Pacific  Coast.  Not 
alone  the  natiye  population,  but  also  the  mul- 
titudes then  flocking  from  all  parts  of  the 
world  to  California,  the  land  of  gold,  were 
in  great  need  of  missionary  efforts;  and  the 
polyglottal  gathering  there  of  people  from 
every  land  made  it  a  particularly  opportune 

268 


PRINCE  OF  MISSIONARY  HYMNS 

• 

season  for  the  establishment  and  spread  of 
]MethodisiQ  in  that  region.  A  mission  to  Cal- 
ifornia in  those  days  involved  about  as  much 
of  self-denial,  sacrifice,  hardship  and  peril  as 
an  appointment  to  a  foreign  field  would  mean 
to-dav.     In  the  midst  of  their  loneliness  one 

t. 

of  the  missionaries  wrote  home  regarding  the 
progress  of  the  work.  His  letter  contained 
an  account  of  the  joy  it  gave  him  one  Sunday' 
afternoon  in  1853,  while  traveling  in  the 
Santa  Clara  Vallev,  to  hear  a  man  and  his 
wife  from  South  Carolina  singing  in  front  of 
their  tent, — 

AYaft,  waft,  ye  winds  His  story, 

And  you,  ye  waters,  roll. 
Till  like  a  sea  of  glory, 

It  spreads  from  pole  to  pole : 
Till  o'er  our  ransomed  nature, 

The  Lamb  for  sinners  slain. 
Redeemer,  King,  Creator, 

Shall  come  in  bliss  to  reign." 

There  was  a  melody  in  the  hymn  on  that  oc- 
casion to  be  ai)preciated  fulh'  only  by  such 
as  may  have  heard  it  sung  under  similar  cir- 
cumstances. Not  all  the  natural  beauty  of 
the  country,  with  its  sunny  skies,  its  enamor- 
ing  landscapes,  and  its  luxuriance  of  flowers, 
foliage  and  fruit,  on  which  their  senses  had 
feasted   for   months,   had  ever   once  regaled 

26q 


HYMNS  THAT  ARE    IMMORTAL 

them  as  did  the  echoing  strains  of  that  sweet 
song  under  those  conditions.  It  was  to  them 
the  breath  of  a  new  life  with  which  to  prose- 
cute their  self-denving  hibors  for  the  salva- 
tion of  their  fellow  men. 


270 


XXXIII 


Messiah's  uxiversal  keigx 


Next  to  Heber's  roval  missionary  liyiuii  Dr. 
Isaac  Watts's  lyrical  rehearsal  of  the  bless- 
ino:s  which  are  to  attend  ^[essiah's  universal 
reign  upon  earth  has  probably  done  more 
than  any  other  in  aid  of  foreign  missionary 
work.  It  is  sung  in  missionary  meetings  the 
wide  world  over,  and  always  with  inspiring 
effect.     The  following  is  the  text : 

.Tesns  shall  reign  where'er  the  sun 
Doth  His  successive  journeys  run  : 
His  kingdom  stretch  from  shore  to  shore 
Till  moons  shall  wax  and  wane  no  more. 

■     From  north  to  south  the  i»rinces  meet 
To  pay  their  homage  at  His  feet : 
YSMiile  western  emjiires  own  their  Loi-d, 
And  savage  tribes  attend  His  word. 

For  Him  shall  endless  prayer  be  made. 
And  endless  praises  crown  His  head: 
His  name,  like  sweet  perfume,  shall  rise 
With  every  morning  sacrifice. 

People  and  realms  of  every  tongue. 
Dwell  on  His  love  with  sweetest  song; 


271 


HYMNS  THAT  ARE  IMMORTAL 

And  infant  voices  shall  proclaim 
Their  early  blessings  on  His  name. 

IJlessings  abound  where'er  He  reigns ; 
The  prisoner  leaps  to  lose  his  chains ; 
The  weary  find  eternal  rest. 
And  all  the  sons  of  want  are  blest. 

"Where  He  displays  His  healing  power, 
Death  and  the  curse  are  known  no  more ; 
Tn  Him  the  tribes  of  Adam  boast 
-More  blessings  than  their  father  lost. 

The  hymn  is  based  on  and  breathes  tlie 
!^]>irit  of  the  Seventh-second  Psalm.  It  was 
the  author's  custom  to  translate  the  more 
evangelical  of  the  Old  Testament  Psalms  into 
metrical  hymns  suited  to  the  spirit  and  needs 
of  the  New  Testament  dispensation  and  of 
the  varied  departments  of  the  Church's  work. 
He  was  no  better  pleased  with  Francis 
Rous's  metrical  version  of  the  Psalms  for  use 
in  Avorshij)  than  with  those  hymns  of  his  time 
Avhich  were  finally  supplanted  by  his  own. 
He  regarded  them  as  rude  in  construction 
and  altogether  Judaic  in  their  coloring.  He 
believed  he  could  give  them  a  metrical  ren- 
dering which  Avould  conserve  their  original 
fervor  and  fire  and  at  the  same  time  adapt 
them  to  the  sunnier  worship  and  service  of 
the  New  Testament  age  and  render  them 
more  singable  than  they  had  yet  been  render- 

272 


MESSIAH'S  UNIVERSAL  REIGN 

ed.  He  said :  "I  have  expressed  as  I  suppose 
David  would  have  done,  had  he  lived  in  the 
davs     of     Christianitv.       I     have     entirelv 

f  V  t.' 

omitted  some  whole  Psalms  and  large  pieces 
of  manv  others,  and  have  chosen  out  of  them 
such  parts  only  as  might  easily  and  naturally 
be  accommodated  to  the  various  occasions  of 
the  Christian  life,  or  at  least  might  afford  us 
some  beautiful  allusion  to  Christian  affairs. 
These  I  have  copied  and  explained  in  the  gen- 
eral style  of  the  gospel.  I  have  chosen  rather 
to  imitate  than  to  translate,  and  thus  to  com- 
pose a  psalm-book  for  Christians  after  the 
manner  of  the  Jewish  Psalter/' 

The  hymn  was  first  published  in  1719,  and 
contained  eight  stanzas.  The  second  stanza 
as  novv"  sung  is  made  up  of  portions  of 
stanzas  two  and  tliree  as  originally  written. 
Watts's  eighth  stanza,  now  generally  un- 
known, read  as  follows : 

"Let  every  nation  rise  and  bring 
Peculiar  honors  to  our  King; 
Angels  descend  with  songs  again, 
And  earth  repeat  the  loud  Amen." 

The  fulness  and  completeness  of  Christ's 
redemptive  vv^ork  is  beautifully  set  forth  in 
this  hymn,  particularly  in  the  stanza, 

"Where  He   displays  His   healing  power. 
Death  and  the  curse  are  Iciiown  no  more : 

273 


HYMNS  THAT  ARE  IMMORTAL 

In  Him  the  tribes  of  Adam  boast 
More  blessings  than  their  father  lost." 

This  stanza,  however,  is  one  of  those 
omitted  by  some  compilers,  possibly  because 
it  is  thought  to  be  too  strong.  Nevertheless 
it  is  one  of  the  most  beautiful,  forceful,  and, 
as  we  think,  scriptural  portions  of  the  hymn, 
and  so  necessary  to  its  completeness  that  its 
omission  is  an  injustice  alike  to  the  work  of 
Dr.  Watts  and  to  the  Christian  public. 

"Perhaps  one  of  the  most  interesting  oc- 
casions on  which  this  hymn  was  used,"  says 
Mr.  Stevenson,  "'was  that  on  which  King 
(4eorge,  the  sable,  of  the  South  Sea  Islands, 
but  of  blessed  memory,  gave  a  new  Constitu- 
tion to  his  people,  exchanging  a  heathen  for 
a  Christ itm  form  of  government.  Under  the 
s])reading  branches  of  the  banyan-trees  sat 
Sonne  five  thousand  natis'es  from  Tonga,  Fiji, 
jind  l^^anioa.  on  AVhitsunday,  18G2,  assembled 
for  divine  worship.  Foremost  among  them 
all  sat  King  George  himself.  Around  Iiim 
were  seated  old  chiefs  and  warriors  who  had 
shared  with  him  the  dangers  and  fortunes 
of  many  a  battle, — men  whose  eyes  were 
dim.  and  whose  powerful  frames  were  bowed 
down  with  the  weight  of  years.  But  old  and 
young  alike  rejoiced  together  in  the  joys  of 
that  day.   their  faces   most  of  them  radiant 

274 


MESSIAH'S  rXIVERSAL  REIGN 

with  Christian  joy,  love  aud  hope.  It  vroiild 
be  impossible  to  describe?  the  deep  feeling 
manifested  when  the  solemn  service  began, 
by  the  entire  audience  singing — 

'Jesus  shall  reigu  where'er  the  sun 
Doth  His  successive  journeys  run : 
His  kingdom  stretch  from  shore  to  shore. 
Till  suns  shall  rise  and  set  uo  more.' 

TYho,  so  much  as  tliey,  could  undei'stand  the 
full  meaning  of  the  poet's  words?  for  they 
had  been  rescued  from  the  darkness  of  hea- 
thenism and  cannibalism ;  and  they  were  that 
dav  met  for  the  first  time  under  a  Christian 
Constitution,  under  a  Christian  king,  and 
with  Christ  Himself  reigning  in  the  hearts  of, 
most  of  those  present  I" 

The  more  recent  establishment  of  Chris- 
tian government  in  Madagascar,  and  the 
marvelous  triumphs  of  Christianity  in  the 
New  Hebrides,  Hawaii,  Micronesia,  Oceanica, 
and  the  Philippine  Islands,  as  also  its  on- 
ward march  in  India,  Africa.  China  and  Ja- 
pan, are  so  many  tokens  that  the  day  is 
drawing  near  for  the  complete  realization 
of  the  prophetic  vision  expressed  in  this  glo- 
rious hymn.     Then  shall 

"Angels   descend   with   songs   again 
And  earth  repeat  the  loud  Amen." 

275 


XXXIV 

HAIL  TO   THE   LORD's    ANOINTED 

One  of  the  finest  metrical  renderings  of 
Hebrew  psalmody  into  the  English  tongue 
with  which  the  Church  has  ever  been  favored 
is  James  ^lontgomery's  ode,  beginning, 

"Hail    to   the   Lord's   anointed, 
Great  David's  greatec  Son !" 

Tt  is  a  free  parai)hrase  of  those  portions 
of  the  Seventy-second  Psalm  which  foretell 
the  jrlory  of  Messiah's  final  advent  and  uni- 
versal reign  upon  the  earth.  Its  author  ap- 
pears to  have  been  accustomed  to  repeating, 
when  lecturing  on  literature  or  poetry,  choice 
selections  for  the  purpose  of  illustration. 
On  a  certain  occasion  in  1822  he  was  present 
and  spoke  at  a  Weslevan  missionarv  asso- 
elation  in  Liverpool  over  which  the  venerable 
Dr.  Adam  Clarke  was  moderator.  When  the 
climax  of  the  poet's  address  was  reached  he 
concluded  with  the  recitation  of  his  own 
fresh  rendering  of  Psalm  LXXII.  into  English 
meter.    Dr.  Clarke  was  so  captivated  by  the 

276 


JAMES   MONTGOMEEY. 


HAIL  TO  THE  LORD\S  ANOINTED 

poem  that  he  at  once  requested  the  iiiaini- 
scri])t  with  permission  to  insert  the  i)ani- 
])hrase  complete  in  the  Coniimentary  on  the 
Bible  he  was  then  j)reparing*.  His  request 
was  granted,  and  the  original  eight  stanzas, 
unaltered,  appear  at  the  close  of  Dr.  Clarke's 
comments  on  the  Psalm  referred  to,  occupy- 
ing the  larger  portion  of  a  quarto  page,  and 
preceded  by  the  following  remarks: 

"The  folloAving  poetical  version  of  some  of 
the  principal  passages  of  the  foregoing  Psalm 
was  made  and  kindlv  sriven  me  bv  mv  mucli 
respected  friend,  James  Montgomery,  Esq., 
of  Shefiield.  I  need  not  tell  the  intelligent 
reader  that  he  has  seized  the  spirit,  and  ex- 
hibited some  of  the  principal  beauties  of  the 
Hebrew  bard ;  though,  to  use  his  own  words 
in  his  letter  to  me,  his  'hand  trembled  to 
touch  the  harp  of  Zion.'  I  take  the  liberty 
here  to  rearister  a  wish,  which  I  haye  strondv 
expressed  to  myself,  that  he  would  fayor  the 
Church  of  God  with  a  metrical  yersion  of  the 
whole  book.'' 

Then  follows  the  hymn,  originally  entitled, 
"The  Reign  of  Christ,''  which  we  here  repro- 
duce without  abridgment : 

Hail  to  tlie  Lord's  anointed, 
Great  David's  greater  Son ! 

Hail !  in  the  time  appointed, 
His  reign  on  earth  begun  I 

277 


HYMNS  THAT  ARE  IMMORTAL 

He  comes  to  T)reak  oppression, 

To  let  the  captive  free, 
'I'o  talve  away  transgression, 

And  reign  in  equity. 

He  comes  with  succor  speedy 

To  tbose  who  suffer  wrong; 
To  belp  the  poor  and  needy, 

And  bid  tbe  weak  be  strong: 
To  give  tbem  songs  for  sigbing, 

Their  darkness  turn  to  light, 
Whose  souls,  in  misery  dying. 

Were  precious  in  His  sight. 

By  such  He  shall  be  feared 

AVbile  sun  and  moon   endure. 
Beloved,  adored,  revered, 

For  He  shall  judge  tbe  poor. 
Through  changing  generations, 

With  justice,  mercy,  truth. 
While  stars  maintain  their  stations, 

And  moons  renew  their  youth. 

He  shall  come  down  like  showers 

Upon  tbe  fruitful  earth. 
And  joy  and  hope,  like  flowers, 

Spring  in  His  path  to  birth  : 
Before  Him.  on  the  mountains. 

Shall  Peace,  the  herald,  go, 
And  righteousness,  in  fountains, 

From  hill  to  valley  flow. 

Arabia's  desert-ranger 
To  Him  shall  bow  the  knee; 

The  Ethiopian  stranger 
His  glory  come  to  see: 

278 


H.ML  TO  THE  LOKD'S  ANOINTED 

With  offerings  of  devotion. 

Ships  from  the  isles  shall  meet 
To  pour  the  wealth  of  ocean 

In  tribute  at  His  feet. 

Kings  shall   fall  down  before  Him, 

And  gold  and  incense  bring : 
All  nations  shall  adore  Him. 

His  praise  all  people  sing: 
For  He  shall  have  dominion 

O'er  river,  sea,  and  shore. 
Far  as  the  eagle's  pinion. 

Or  dove's  light  wing  can  soar. 

For  Him  shall  prayer  unceasing. 

And  daily  vows  ascend; 
His  kingdom  still  increasing, — 

A  kingdom  without  end ; 
The  mountain-dews  shall  nourish  * 

A  seed  in  weakness  sown. 
Whose  fruit  shall  spread  and  flourish 

And  shake  like  Lebanon. 

O'er  every  foe  victorious. 

He  on  His  throne  shall  rest. 
From  age  to  age  more  glorious. — 

All-blessing  and  all-blest : 
The  tide  of  time  shall  never 

His  covenant  remove : 
His  name  shall  stand  for  ever. 

His  name — what  is  it?  Love. 

Tune— ''Webb." 

It  is  an  interesting  coincidence  that  both 
this  hymn  and  Dr.  Watts's 

"Jesus  shall  reign  where'er  the  sun 
Doth  His  successive  journeys  run,'' 

279 


HYMNS  THAT  ARE  IMMORTAL 

are  paraphrases  of  the  same  portion  of  He- 
brew psalmody.  We  have  seen  the  suggestion 
somewhere  in  our  reading  that  Montgomery's 
production  is  probably  an  unconscious  imita- 
tion of  Dr.  Watts's  hymn.  Such  a  sugges- 
tion appears  to  us  without  warrant,  and  a 
gross  injustice  to  Mr.  I\Iontgomery.  The  in- 
spiration for  the  writing  of  both  hymns  was 
borrowed  from  the  same  source,  and  both 
are  occupied  with  paraphrasing  the  same 
piece  of  Hebrev/  literature  into  English 
meter;  but  there  is  enough  of  distinct  individ-' 
nality  displayed  in  each  to  indicate  the  fullest 
originality  in  the  later  as  well  as  in  the 
earlier  hymn  produced.  The  coincidence  in 
the  production  of  these  two  hymns,  so  similar 
and  yet  so  dissimilar,  from  the  same  original 
source  is  a  striking  illustration  of  the  won- 
derful fountain  of  inspiration  for  their  muses 
Christian  poets  have  ever  found  in  the  Holy 
Scriptures. 

As  now  generally  published  in  the  church 
hymnals  Montgomery's  hymn  appears  with 
but  four  stanzas — the  first,  second,  fourth 
and  seventh  of  the  original.  In  this  abridged 
form  it  makes  an  admirable  hvmn  for  devo- 
tional  use,  and  is  peculiarly  adapted  to 
awakening  missionary  enthusiasm,  and  also 
to  expressing  the  Church's  hope  for  her 
Lord's  return. 

280 


Our  Country 


28i 


XXXV 

NATIONAL    HYMN 

The  people  of  the  United  ^?tates  have  and 
vet  have  not  a  national  hymn.  The  Rev.  Sam- 
uel Francis  Smith's  ''^Fy  country,  'tis  of  thee'' 
has  so  long  been  regarded  as  such  by  common 
consent  that  few  ever  stop  to  consider  that 
neither  this  nor  any  other  production  has 
ever  been  authoritatively  designated  as  the 
national  hymn.  It  holds  the  same  place  in 
the  hearts  of  the  American  people,  however, 
as  does  "God  save  the  king"  in  the  hearts  of 
the  English,  or  the  ••Marsellaise''  in  the 
hearts  of  the  French  jieople;  and  it  has  been 
so  long  halloAved  by  universal  use  that  au- 
thoritative enactment  to  make  it  the  national 
hymn  would  be  su])ertluous.  Following  is 
the  text : 

My  country  I  'tis  of  thee, 
Sweet  land  of  liberty. 

Of  thee  I  sintr : 
Land  where  my  fathers  died  1 
Land  of  the  Pilirrinis'  pride  I 
From  every  mountain-side 

Let  Freedom  ring  I 

283 


HY^IXS  THAT  ARE   IMMORTAL 

My  native  country,  thee — 
Land  of  the  noble  free — 

Thy  name  I  love; 
I  love  thy  rocks  and  rills, 
Thy  woods  and  templed  hills; 
My  heart  with  rapture  thrills 

Like  those  above. 

Let  music  swell  the  breeze, 
And  ring  from  all  the  trees 

Sweet  freedom's  song: 
Let  mortal  tongues  awake ; 
Let  all  that  breathe  partake; 
Let  rocks  their  silence  break — 

The  sound  prolong. 

Our  fathers'  God!  to  Thee, 
Author  of  liberty, 

To  Thee  we  sing : 
Long  may  our  land  be  bright 
AVith  freedom's  holy  light : 
Defend  us  by  Thy  might. 

Great  God,  our  King. 

TrxE — "America." 

The  author  of  this  inspiring  and  widely 
known  hymn  was  a  Baptist  minister  of  New 
England.  He  was  born  in  Boston  in  1808, 
and  was  educated  at  Harvard  and  Andover. 
He  filled  various  important  pastorates  and 
occupied  other  responsible  positions  in  the  de- 
nomination to  which  he  belonged,  during  his 
long  and  highly  useful  ministry^  the  later 
years  of  which  were  spent  at  Newton,  Massa- 
chusetts.     He    also    wrote    several    valuable 

284 


NATIONAL   HYMN 

books  and  numerous  livmns  and  poems.  His 
stirring  missionary  hymn,  "The  morning 
light  is  breaking,"  is  one  of  his  best  known 
and  most  useful  lyrical  productions.  He  was 
one  of  the  editors  of  "The  Psalmist,''  a  Bap- 
tist hymn-book  published  in  Boston  in  1843. 
"^ly  country,  'tis  of  thee"  and  also  seyeral 
other  hymns  of  his  own  composing,  were  con- 
tributed to  that  yaluable  collection.  His  na- 
tional hymn  has  come  down  to  us  without  al- 
teration. Dr.  Smith  died  Xoyember  16th, 
1805,  full  of  years  and  ri|}e  for  the  kingdom. 
The  story  of  the  hymn  has  been  told  briefly 

t  e  t. 

bv  its  author,  who  says  it  "was  written  in 
1832.  I  found  the  tune  in  a  German  music- 
book  brought  to  this  country  by  the  late  Wil- 
liam C.  AVoodbridge,  and  put  into  my  hands 
by  Lowell  Mason,  because  (so  he  said)  I 
could  read  German  books  and  he  could  not. 
It  is,  howeyer.  not  a  translation,  but  the  ex- 
pression of  my  thouixht  at  the  moment  of 
glancing  at  the  tune." 

Tlie  origin  of  the  tune  to  which  this  hymn 
is  generally  sung  in  this  country  ["America"] 
is  inyolyed  in  uncertainty.  It  is  used  in 
Great  Britain  as  "God  Saye  the  King."  which 
is  considered  the  national  song.  "The  name 
^Am.erica'  was  added  by  Lowell  Mason,"  says 
Dr.  Robinson,   "who  arranged  it  for  use  in 

285 


PIYMNS  THAT  ARE  IMMORTAL 

this  country."  Some  consider  it  as  an  amend- 
ment made  by  Henry  Cary,  near  the  end  of 
the  seventeenth  or  the  beginning  of  the 
eighteenth  century,  from  Dr.  John  Bull,  who 
died  in  1G22.  The  tune  was  first  published  in 
England  in  honor  of  George  II.  But  French 
critics  claim  that  the  original  m,usic  was  com- 
posed by  Lulli/and  that  it  was  sung  by  300 
young  ladies  before  Louis  XIV.  at  St.  Cyr, 
where  Handel  found  it  in  1721.  They  even 
go  so  far  as  to  insist  that  the  words  ["God 
save  the  king'']  wei^e  composed  by  Madame 
de  Brinon,  the  Mother  Superior,  beginning, 
^ Grand  Dieu,  sauvez  le  RoW 

The  following  anonymous  verses,  though 
not  submitted  for  their  poetic  merit,  pay  high 
and  deserved  tribute  to  Dr.  Smith's  hymn : 

PASSING  THE  PRIMARY   SCHOOL 

"Again  each  morning  as  we  pass 
The  city's  streets  along, 
We  hear  the  voices  of  the  class 
Ring  out  the  nation's  song. 

"The  small  boy's  treble  piping  clear, 

The  bigger  boys'  low  growl, 
And  from  the  boy  who  has  no  ear 
A  wierd,  discordant  howl. 

"With  swelling  hearts  we  hear  them  sing 
'My  country!  'tis  of  thee — ' 
From  childish  throats  the  accents  ring, 
*Sweet  land  of  liberty.' 

286 


NATIONAL   HYMN 

"Their  little  hearts  aglow  with  pride, 
Each  with  exultant  tongue 
Proclaims :  'From  every  mountain-side 
Let  freedom's  song  be  sung.' 

"Let  him  who'd  criticise  the  time, 
Or  scout  the  harmony. 
Betake  him  to  some  other  clime — 
No  patriot  is  he! 

"From  scenes  like  these  our  grandeur  springs, 
And  we  shall  e'er  be  strong, 
While  o'er  the  land  the  schoolliouse  rings 
Each  day  with  freedom's  song." 

The  hymn  is  usually  suug  on  all  national 
and  patriotic  occasions.  Americans  would 
feel  sadly  at  a  loss  in  an  Independence  Day 
or  a  Thanksgiving  Day  exei'cise  without  the 
inspiration  of  its  stirring  strains.  It  is  also 
the  hymn  that  voices  the  feelings  of  Ameri- 
cans on  first  sighting  their  own  shores  after 
a  period  of  foreign  travel.  It  has  always  had 
a  warmer  place  in  the  writer's  heart  since  the 
20th  of  June,  1895,  when,  returning  from  a 
three  months'  tour  abroad,  as  the  steamshij* 
St.  Louis  brought  us  within  sight  of  the 
home-land  the  voices  of  all  Americans  on 
board  joined,  almost  simultaneously,  and 
with  genuine  fervor,  in  singing, 

"My  country !   'tis  of  thee, 
Sweet  land  of  liberty. 
Of  thee  I  sing." 

287 


XXXVI 

BATTLE    HYMN   OF   THE   REPUBLIC 

It  is  strange  indeed,  bnt  no  less  strange 
than  true,  that  the  greatest  Battle-Hymn  ever 
written  gnshed  from  the  gentle  and  sympa- 
thetic heart  of  a  woman.  Agitated  intensely 
and  wrought  up  to  the  highest  pitch  of  sym- 
pathy and  patriotic  emotion  over  the  scenes 
she  had  witnessed  in  a  visit  to  the  Army  of 
the  Potomac,  soon  after  the  outbreak  of  the 
Civil  War,  Mrs.  fJulia  Ward  Howe,  whose 
name  will  ever  be  a  synonym  for  all  that  goes 
10  make  up  the  noblest  type  of  womanhood, 
]>oured  out  the  pent-up  inspiration  of  her  soul 
in  the  composition  of  the  following  inspiring 
and  popular  hymn : 

Mine  eyes  have  seen  the  glory  of  the  coming  of  the 

Lord ; 
He  is  trampling  out  tbe  vintage  where  the  grapes 

of  wrath  are  stored. 
Tie  hath  loosed  the  fateful  lightning  of  His  terrible 
swift  sword ; 

His  truth  is  marching  on. 

1    have  seen  Him  in  the  watch-fires  of  a  hundred 
circling   camps : 

288 


BATTLE  HY^klX  OF  THE   REPUIMJC 

Tbe.v  have  bnilded  ITiiii  aii  altar  In  the  ovcninL?  (lows 

and  damps : 
I  have  read  His  righteous  sentence  by  tlie  dim  and 

tlariug  himps ; 

Ills  day  is  marching  on. 

1  have  read  a  liery  gospel  writ  in  Imrning  rows  of 

sfceel — 
"As  ye  deal  with  My  contemners,  so  with  you   ^Nly 

grace  shall  deal;" 
Let  the  ficro  born  of  woman  crush  the  serpent  with 

His  heel. 

Since  God  is  marching  on. 

He  has  sounded  forth  the  trumpet  that  shall   never 

call  retreat : 
He  is  sifting  out  the  hearts  of  men  before  His  Judg- 
ment-seat ; 
Oh!  be  swift,  my  soul,  to  answer  Him:  be  jubilant 
my  feet, — 

Our  God   is  marching  on. 

In  the  beauty  of  the  lilies  Christ  was  born  across 
the  sea. 
\\'ith  a  glory  in  His  bosom  that  transfigures  you  and 

me : 
As  He  died  to  make  men  holy,   let  us  die  to  make 
men  free. 

While  God  is  marching  on. 

Tune — "John   Rrow.x's  Konv."" 

Probably  no  other  patriotic  hymn  is  better 
known  or  oftener  sung  throughout  the  lengtli 
and  breadth  of  onr  country  than  this;  and 
surely    none   is   better   adapted    to   inspiring 

289 


HYMNS  THAT  ARE  IMMORTAL 

optimistic  enthusiasm  for  the  country's  weal, 
or  serene  confidence  regarding  the  issue  of 
every  gTeat  crisis  through  which  the  nation 
]?asses.  Tn  its  production  our  modern  Miri- 
am has  exquisitely  expressed,  and  also  mar- 
velously  intensified,  the  spirit  of  our  nation, 
on  the  lips  of  whose  sons  and  daughters  the 
uords  of  her  matchless  song  will  live 

"Till    the   Hero  born   of   woman   crush  the   serpent 
with  His  heel." 

The  Independent  i)ublished  at  some  length 
the  storv  of  this  remarkable  hvmn  a  few  vears 
ago,  of  which  the  following  is  a  part,  as 
quoted  by  Col.  Nicholas  Smith  in  ^'Hymns 
Historically  Famous:" 

"It  was  in  December,  1861.  that  Mrs. 
Howe,  in  company  with  her  husband.  Gov- 
ernor and  Mrs.  xVndrew,  and  other  friends, 
visited  Washington,  itself  almost  in  the  con- 
dition of  an  armed  camp.  On  the  journey 
tliither,  the  watchfires  of  a  hundred  circling 
camps  gleamed  in  the  darkness,  the  railroad 
being  patrolled  by  pickets.  Mrs.  Howe  has 
told  of  the  martial  sights  and  sounds  in  the 
national  capitol,  and  of  her  drive  to  a  dis- 
tance of  several  miles  from  the  city  to  see  a 
review^  of  our  troops.  An  attack  from  the 
enemy  interrupted  the  program,  and  the  re- 

290 


BATTLE  HYMN  OF  THE  REPUBLIC 

turn  drive  was  made  through  files  of  soldiers 
who  occupied  almost  the  entire  road.  To  be- 
guile the  tedium  of  their  slow  progress,  Mrs. 
Howe  nnd  her  frieuds  sang  army  songs, 
among  others,  'John  Brown's  Bodj.'  This 
seemed  to  please  the  soldiers,  who  surround- 
ed them  like  a  river,  and  who  themselves  took 
I'P  the  strain,  in  the  interval  crying,  'Good 
for  you.'  Our  poet  had  often  wished  to  write 
words  to  be  sung  to  this  tune,  and  now,  in- 
deed, liad  she 

'Read  a  fiery  gospel  writ  in  burnished  rows  of 
steel.'  " 

Her  visit  to  the  army  of  the  Potomac  gave 
Mrs.  Howe  such  a  conception  of  war  as  she 
could  have  obtained  in  no  other  wav — of  the 
wild  commotion,  the  wholesale  and  horrible 
slaughter,  the  widespread  and  terrible  deso- 
lation, the  awful  strain  upon  the  nation's 
life,  and  the  almost  universal  gloom  and  hor- 
ror with  which  it  fills  the  land.  Her  heart 
was  stirred  with  emotions  deep  and  strong, 
and  made  to  beat  in  sympathetic  response  to 
her  country's  agony  and  peril.  In  the  midst 
of  all  these  depressing  and  deplorable  condi- 
tions, however,  the  inspiration  of  the  prophet 
and  the  vision  of  the  seer  were  hers,  and,  dur- 
ing the  night  following  her  visit  to  the  seat 

291 


HYMNS  THAT  ARE  IMMORTAL 

of  war,  she  stole  from  her  bed  and  gave  vent 
to  her  pent-up  spirit  of  prophetic  song  in 
the  immortal  lines  of  the  foregoing  hymn. 

Some  time  after  its  composition  the  poem 
was  shown  to  Mr.  James  T.  Fields,  then  edi- 
tor of  The  Atlantic  Monthly,  who  to  some 
extent  recognized  its  merit,  suggested  as  a 
fitting  title  for  it,  "Battle-Hymn  of  the  Re- 
public," and  xjublished  it  in  his  magazine  in 
February,  18G2,  with  no  signature  attached. 
Mrs.  Howe  is  said  to  have  received  the  trifling 
sum  of  five  dollars  for  this  immortal  pro- 
duction. But  the  imperishable  honor  it  has 
brought  her,  and  the  invaluable  service  it 
has  rendered  to  the  country  she  so  ardently 
loves,  are  rewards  with  which  no  amount  of 
nionied  renumeration  is  to  be  compared. 

"When  James  Russell  Lowell  was  editor  of 
The  Atlantic, ^^  writes  Colonel  Smith,  "he 
declined  to  publish  a  poem  written  by  Julia 
"Ward  Howe^  and  gave  as  his  reason  therefor 
that  no  woman  could  write  a  poem,  and  said 
tiiat  'Mrs.  Browning's  efforts  were  a  conspic- 
uous illustration  of  this  fact.'  But  Mrs. 
Howe  did  write  a  poem  which  The  Atlantic 
did  accept,  and,  athough  Mr.  Lowell  wrote 
many  verses  which  will  live  long  in  our  liter- 
ature, he  has  written  nothing  that  will  touch 
the  popular  heart  as  deeply  as  the  glorious 

anthemi — 

292 


JULIA  WAKD   HOWE. 


BATTLE  HYMX  OF  THE  REPnU.IC 

*Mine  eyes  have  seen  the  glory  of  the  coming  of  the 
Lord.'  " 

As  an  illustration  of  the  popularity  and 
power  of  the  air  to  this  noble  and  stirring 
hymn  the  following,  from  the  pen  of  John 
Habberton,  who  served  in  the  Civil  War  and 
afterward  did  editorial  work  on  several  im- 
portant periodicals  and  wrote  books  on  vari- 
ous topics,  and  who  wrote  it  long  after  the 
struggle  was  all  over,  will  be  in  place: 

''The  old  air  has  a  wonderful  influence  over 
me.  I  heard  it  in  Western  camp-meetings 
and  negro  cabins  when  I  was  a  boy.  I  saw 
the  22nd  Massachusetts  march  down  Broad- 
way singing  the  same  air  during  a  rush  to  the 
front  in  the  early  days  of  the  war;  I  have 
heard  it  sung  by  warrior  tongues  in  nearly 
every  Southern  State;  my  old  brigade  sang 
it  softly,  but  with  a  swing  that  was  terrible 
in  its  earnestness,  as  they  lay  behind  their 
stacks  of  arms  just  before  going  into  action; 
T  have  heard  it  played  over  the  grave  of  nmny 

a   dead   comrade;   the   semi-mutinous  th 

cav^alry  became  peaceful  and  patriotic  again 
as  their  bandmaster  played  the  old  air,  after 
having  asked  permission  to  try  his  hand  on 
them ;  it  is  the  tune  that  burst  forth  spon- 
taneously in  our  barracks  on  that  glorious 
morning  when  he  learned  that  the  war  was 

293 


HYMNS  THAT  ARE  IMMORTAL 

over,  and  ir  was  sung  with  words  adapted 
to  the  0(  casion  by  some  good  rebel  friends  of 
mine  on  onr  first  social  meeting  after  the 
war." 

Jnlia  Ward  Howe  still  lives.  Her  years 
are  many,  she  having  recently  passed  her 
eighty-fonrth  birthday.  She  is  not  old,  how- 
ever^ since  those  who  live  under  the  spell  of 
such  inspiring  and  enchanting  visions  as 
heaven  vouchsafed  to  her  never  grow  old.  ^'At 
the  end  of  a  beautiful  life,  she  now  looks  to- 
ward the  lyreat  lights  of  eternitv  that  beckon 
the  faithful  workers  and  believers  to  an  hon- 
orable rest,  and  to  the  hope  of  renewed  work 
in  the  universe  after  rest."  She  is  a  great 
Avoman  in  all  that  makes  for  great  and  noble 
womanhood.  She  has  expressed  the  great- 
ness of  her  heart  and  character  in  the  produc- 
tion of  a  great  hymn.  Regarding  that  pro- 
duction the  writer  would  say,  in  the  language 
of  another:  ^'Read  it;  teach  it  to  your  chil- 
dren; and,  above  all,  understand  it.  See 
Avhat  she  saw^ — Justice  that  will  not  be  denied 
in  the  end.  Progress  that  cannot  be  stopped, 
and  Truth  that  must  triumph." 


294 


Death 


295 


XXXVII 

ABIDE   WITH    ME 

Of  all  hymns  written  under  the  shadow  of 
that  ineffable  mvsterv  called  Death  none  is 
more  deservedly  popular  than  the  tender, 
hopeful  and  beautiful  swan-song  of  Henry 
Francis  Lyte,  beginning, 

"Abide  with  me  I  fast  falls  the  eventide ; 
The  darkness  deeijens ;  Lord,  with  me  abide." 

The  hvmn  has  quite  commonly  and  yet  as 
mistakenly  been  classified  as  an  Evening 
Hymn.  In  the  popular  conception  the  deep- 
ening darkness  mentioned  in  the  second  line 
means  the  gathering  gloom  of  night ;  whereas 
the  author  had  no  reference  to  evening  shades 
whatever,  but  to  the  gathering  shades  of 
death's  long  sleep.  The  pathos  of  the  hymn 
becomes  much  more  impressive  when  this  fact 
is  understood,  and  also  when  we  remember 
that  the  poet  was  already  enveloped  in  the 
fringe  of  those  darkening  shadows  when  his 
poul  poured  forth  this  sweet  and  hallow^ed 
lyric.     To  appreciate  the  value  of  the  hymn 

297 


HYMNS  THAT  ARE  IMMORTAL 

we  should  regard  it  as  a  voice  wafted  back  to 
us  from  one  just  entering  within  the  vail  that 
separates  between  time  and  eternity,  and  who 
cheered  his  own  passage  through  the  deepen- 
ing shades  with  this  song  of  marvelous 
beauty,  love  and  trust. 

For  a  sketch  of  Mr.  Lyte's  earlier  history 
the  reader  is  referred  to  Chapter  XXI.  of 
this  volume. 

After  various  shiftings  of  fortune  in  his 
case,  he  "entered  [in  1823]  upon  the  perpet- 
ual curacy  of  the  Lower  Brixham,  Devon- 
shire, England,  which  he  held  until  his  death, 
twenty-five  years  later.  It  was  a  strange  and 
uncongenial  field  for  a  man  of  Mr.  Lyte's 
culture,  refinement  and  literary  tastes,  the 
place  being  described  as  a  fishing  town,  com- 
posed of  ^'a  poor,  rough,  sea-faring  popula- 
tion." Here  he  labored  in  the  spirit  of  his 
divine  Master,  however,  with  affectionate  ten- 
derness and  self -consuming  zeal,  and  remark- 
able success  crowned  his  efforts.  Here  also 
he  wrote  his  sadly  tender  yet  remarkably 
beautiful  Christian  lyrics  found  in  nearly  all 
modern  hvmnals. 

Alwavs  delicate  in  health,  Mr.  Lvte's  la- 
bors  on  the  rude  English  coast  were  too  much 
for  his  strength,  and  year  by  year  he  steadily 
declined  until   he  was  compelled  at  last  to 

298 


ABIDE   WITH    ME 

seek  recuperation  in  travel  and  in  rest  from 
public  duties.  He  saw  that  the  lamp  of  his 
life  was  surely  burning  out,  and.  although 
prepared  to  die,  he  longed  to  live  until  he 
should  accomplish  more  of  enduring  value 
than  seemed  to  have  resulted  from  his  labors. 
This  yearning  found  expression  in  the  follow- 
ing lines: 

*'Mislit  verse  of  mine  inspire 
One  virtuous  aim,  one  high  resolve  impart: 
Light  in  one  drooping  soul  a  hallowed  fire, 
Or  bind  one  broken  heart, 

"Death  would  be  sweeter  then. 
More  calm  my  slumber  'neath  the  silent  sod ; 
Might  I  thus  live  to  bless  my  fellow  men, 
Or  glorify  my  God." 

Mr.  Lyte  had  returned  home  to  spend  the 
summer  of  1847  with  his  people  in  Lower 
Brixham.  His  health  so  rapdly  declined, 
however,  that  his  only  hope  of  life  was  in 
getting  off  as  early  as  possible  for  the  warm- 
er climate  of  Southern  Europe.  The  fourth 
of  September  was  to  be  his  last  Sabbath  with 
the  people  of  his  parish.  To  the  surprise  of 
his  friends,  who  saw  that  he  was  on  the  very 
brink  of  the  grave,  he  announced  his  deter- 
mination to  preach  once  more  to  the  people  he 
so  ardently  loved.     He  carried  out  his  pur- 

299 


HYMNS  THAT  ARE   IMMORTAL 

pose,  and,  feeble  as  he  was,  delivered  a  most 
affecting  farewell  sermon,  after  which  he  ad- 
ministered the  sacrament  of  the  Lord's  Sup- 
per. Much  exhausted,  but  full  of  strong  emo- 
tion, he  went  to  his  home,  and,  in  accordance 
with  his  own  poetic  prayer — 

"And  graut  me,  swan-like,  my  last  breath  to  spend 
In  song  that  may  not  die," — 

composed  both  words  and  music  of  his  last 
and  sweetest  hymn,  ^'Abide  With  Me,"  of 
which  the  following  is  the  original  form : 

Abide  with  me!  Fast  falls  the  eventide; 
The  darkness  thickens.  Lord,  with  me  abide. 
"When  other  helpers  fail,  and  comforts  flee, 
Help  of  the  helpless,  O  abide  with  me! 

Swift  to  its  close  ebbs  ont  life's  little  day ; 
Earth's  joys  grow  dim,  its  glories  pass  away ; 
Change  and  decay  in  all  aronnd  T  see ; 
O  Thou  who  changest  not,  abide  with  me. 

Not  a  brief  glance  I  beg,  a  passing  word. 

But  as  Thou  dwell'st  with  Thy  disciples.  Lord — 

Familiar,  condescending,  patient,  free, — 

Come  not  to  sojourn,  but  abide  with  me. 

Come  not  in  terrors,  as  the  King  of  kings. 
But  kind  and  good,  with  healing  in  Thy  wings; 
Tears  for  all  woes,  a  heart  for  every  plea ; 
Come,  Friend  of  sinners,  thns  abide  with  me. 

300 


ABIDE   WITH   ME 

Thou  on  my  liend  in  early  youth  diclst  smile ; 
And,  though  rebellious  and  perverse  meanwhile, 
Thou  hast  not  left  me,  oft  as  I  left  Thee ; 
On  to  the  close,  O  Lord,  abide  with  me. 

I  need  Thy  presence  every  passing  hour : 
Wliat  but  Thy  grace  can  foil"  the  tempter's  power? 
Who  like  Thyself  my  guide  and  stay  caa  be? 
Through  cloud  and  darkness,  O  abide  with  me. 

I  fear  no  foe,  with  Thee  at  hand  to  bless ; 
Ills  have  no  weight,  and  tears  no  bitterness. 
Where  is  Death's  sting?  where,  Grave,  thy  victory? 
I  triumph  still,  if  Q'hou  abide  with  me. 

Hold  then  Thy  cross  before  my  closing  eyes. 
Shine  through  the  gloom,  and  point  me  to  the  skies : 
Heaven's  morning  breaks,  and  earth's  vain  shadows 

tiee; 
In  life,  in  death,  O  Lord,  abide  with  me. 

Tune — "Eventide." 

The  liTmn  now  usnallv  appears  with  stan- 
zas 3,  4  and  5  omitted.  It  may  be  wise  that 
this  abridgment  is  made,  tiie  hvmn  being 
quite  complete  without  the  omitted  stanzas, 
and  the  length  of  the  lines,  the  number  of 
stanzas  and  the  slowness  of  the  movement 
rendering  the  full  hvmn  too  long  for  use  in 
piiblic  worship.  ^'The  darkness  thickens,"  in 
line  2  of  stanza  1.  was  early  changed  to  ''the 
darkness  deepens,"  "no  doubt  by  Mr.  Lyte 
himself."  Later,  "Hold  then  Thy  cross"  >vas 
wisely    changed  to  "Hold  Thou  Thy  cross/' 

301 


HYMNS  THAT  ARE   nLMORTAL 

this  form  appearing  in  the  author's  later 
jjoems. 

Mr.  Lvte  on  leaving  England  intended  to 
go  to  Rome.  His  rapid  decline,  however,  com- 
pelled him  to  halt  at  Nice,  in  France,  where, 
November  20,  1847,  ^'the  silver  cord  was 
loosed,  the  golden  bowl  broken."  and  the  good 
man's  spirit  pasced  to  be  '^forever  with  the 
Lord.''  In  passing  a  smile  transfigured  his 
face^  and,  in  subdued  but  triumphant  tones 
he  uttered  the  words — ^%Joy  I  Peace  I'' 

Two  instances  illustrative  of  the  inspiring 
and  consoling  power  of  the  hymn  Avill  be  ad- 
duced in  closing  this  sketch. 

The  first  of  these  was  connected  with  the 
closing  of  Jennie  O'Neill  Potter's  life,  and  is 
reproduced  from  Tol.  Nicholas  Smith's 
"Hymns  Historically  Famous." 

''When  that  gifted  elocutionist  and  reader 
lay  dying  in  St.  Luke's  Hospital.  New  York, 
in  1900,  the  closing  of  her  young  and  bril- 
liant life  by  an  incurable  disease  did  not  dis- 
turb her  soul.  The  physicians  told  her  that 
her  remaining  days  were  about  ninety;  and 
she  began  a  patient  waiting  for  the  inevitable 
hour.  The  nurses  wondered  how  the  frail 
little  woman  could  be  so  happy.  She  would 
sing  to  herself  all  day  long,  and  as  the  even- 
ing fell   over  the  big  building  upon  the  hill 

302 


ABIDE   WITH   ME 

not  far  from  General  Grant's  tomb,  a  delight- 
ful melody,  with  some  pathetic  Avords,  would 
come  from  Miss  Potter's  room.  Physicians 
and  nurses  could  not  restrain  their  tears  of 
sympathy  while  they  listened  with  breathless 
attention  as  she  softly  crooned  the  tender 
lines, 

'Abide  with  me !  Fast  falls  the  eventide ; 
The  darkness  deepens ;  Lord,  with  me  abide ! 
When  other  helpers  fail,  and  comforts  flee. 
Help  of  the  helpless,  oh,  abide  with  me.' 

Tn  the  mortal  struggle  with  disease  when 
^other  helpers  failed,'  when  all  around  was 
dark,  this  hymn  was  Miss  Potter's  comfort 
to  the  very  hour  when  she  realized  the  full 
nieaning  of  the  triumphant  line, 

'Heaven's  morninp:  breaks,  and  earth's  vain  shadows 
flee.*  •" 

The  other  instance  is  that  of  Louise  Butler, 
who,  in  alighting  from  a  railway  train  in 
Chicago,  fell  under  the  wheels  of  the  moving 
train  and  was  ^'horribly  mangled."  Report- 
ing the  accident  the  Chicago  Record-Herald, 
as  quoted  by  the  Commoner,  stated  that  after 
the  accident  ^liss  Butler  was  placed  on  the 
train  from  which  she  had  fallen  to  be  convey- 
ed to  a  hospital  five  miles  away.  Reviving  in 
spite  of  her  terrible  injuries,  she  began  sing- 
ing softly : 

303 


HY^rXS  THAT  ARE  IMMORTAL 

"Abide  with  me.     Fast  falls  the  eventide; 
The  darkness  deepens,  Lord,  with  me  abide. 
When  others  helpers  fail  and  comforts  flee, 
Help  of  the  helpless,  oh,  abide  with  me." 

Slio  saiij;  the  hymn  through,  the  report  con- 
timies,  even  as  her  hands  clenched  in  her 
n.i;ony.  and  the  last  line  was  reached  as  the 
train  stoj)iied  and  she  was  lifted  from  it. 

Again  Avlien  she  was  placed  on  the  opera- 
iijig  table  the  girl  sang  the  prayer,  only 
ceasing  when  her  mother  and  father  reached 
her,  to  l>eg  them  not  to  grieve. 

Turning  from  them  to  her  pastor.  Miss 
lUitler  asked  him  to  comfort  her  parents, 
and  requested  him  to  pray.  As  the  prayer 
was  finished  she  took  u])  another  hymn: 

"My  iaith   looks  u])  to  Thee, 
Thou  Lamb  of  Calvary, 

Savior  divin(\ 
Now  hear  me  while  I  pray ; 
Take  all  my  gnilt  away ; 
Oh.  let  me  from  this  day 

r.e  wholly  Tliino."' 

Tier  voice  faltering  on  the  last  line,  she 
whispered:  "Do  not  grieve.  Tell  them  I  am 
not  afraid  to  die,''  and  became  unconscious. 
She  died  thirty  minutes  afterward. 


304 


XXXVIII 

ASLEEP   IN   JESUS    . 

Sooner  or  later  Death  forces  'liis  war  into 
every  home,  and,  with  inexorable  summons, 
calls  for  one  after  another  of  the  family  cir- 
cle to  leave  it  and  follow  him  to  those  deep 
shades  from  which  none  evermore  return. 
I[oAv  dark  the  i)all  of  gloom  that  settles 
npon  those  from  Avliom  loved  ones  are  thus 
ruthlessly  severed  none  can  ever  know  until 
called  themselves  to  follow  the  lifeless  forms 
of  those  thev  have  tenderlv  loved  to  their 
linal  resting  place.  Christian  hymnody  is  re- 
])lete  with  lyrics  peculiarly  adapted  to  min- 
istering consolation  to  those  who  are  thus 
called  to  burv  their  dend  out  of  their  sioht, 
but  none  among  them  all  is  characterized  by 
greater  sweetness,  beauty  and  consolatory 
power  than  Mrs.  ^largaret  ^[ackay's  hymn 
entitled,  ^'Sleeping  in  Jesus,"  of  which  the 
following  is  a  reproduction : 

Asleep  in  .Tesns  I  blessed  sleep. 
From  wbich  none  ever  wakes  to  weep  I 
A  calm  and  undisturbed  repose, 
Unbroken  br  the  last  of  foes. 

305 


HYMNS  THAT  ARE  IMMORTAL 

Asleep  in  Jesus !  Ob,  how  sweet 

To  be  for  such  a  slumber  meet! 

With   holy  confidence  to  sing, 

That  Death  hath  lost  its  venomed  sting. 

Asleep  in  Jesus !  peaceful  rest, 
Whose   waking  is  supremely   blest! 
No  fear,  no  woe,  shall  dim  that  hour 
That  manifests  the  Savior's  power. 

Asleep   in   Jesus !   Oh,   for  me 
^lay  such  a  blissful  refuge  be! 
Securely  shall  my  ashes  lie, 
Waiting  the  summons  from  on  high. 

Asleep  in  Jesus !  time  nor  space 
Debars  this  precious  "hiding  place ;" 
On  Indian  plains  or  Lapland  snows 
l^elievers  find  the  same  repose. 

Asleep  in  Jesus !  far  from  Thee 
Thy  kindred  and  their  graves  may  be; 
But  thine  is  still  a  blessed  sleep, 
From  which  none  ever  wakes  to  weep. 

Tune— "Rest." 

^frs.  ^lackay,  autlioi*  of  the  liyiiin,  was  born 
near  Inverness,  Scotland,  in  1802.  Her  fa- 
thei-  was  ('aptain  Robert  IMackay,  of  the 
British  army,  and  her  husband  Colonel  Wil- 
lijini  Mackay,  of  the  Sixty-Eighth  Light  In- 
fantry, tc  whom  she  was  married  in  1820. 
In  addition  to  several  prose  works  she  wrote 
between  seventy  and  eighty  hymns,  the  best 

306 


A^^LEEr  IN  JESUS 

kiiowE  among  them  being  ^'Asleep  in  Jesus/' 
On  January  5,  1887,  after  a  long  life  of  devo- 
tion to  the  blaster's  service,  she  entered  that 
"calm  and  undisturbed  repose"  of  which  slie 
wrote  so  beautifully  in  the  foregoing  hymn. 

The  hymn  first  appeared  in  The  Amethyst, 
or  Christian  Annual^  for  the  year  1832,  and 
was  introduced  as  follows:  '^Sleeping  in 
Jesus.  By  ^Irs.  ^fackay,  of  ITedgefield.  This 
simjde  but  expressive  sentence  is  inscribed  on 
a  topibstone  in  a  rural  burying-ground  in 
Devonshire,  and  gave  rise  to  the  following 
verses.-' 

]Mrs.  ^Mackay  reprinted  it  in  her  ^'Thoughts 
Redeemed,"  1854,  and  in  connection  there- 
^^•ith  said  :  ^"The  burying-ground  meant  is  that 
of  Pennycross  Chapel.  Distant  only  a  few 
miles  from  a  bustling  and  crowded  seaport 
town,  reached  tlirough  a  succession  of  those 
lovelv  areen  lanes  for  which  Devonshire  is  so 
renuirkable,  the  quiet  aspect  of  Pennycross 
comes  soothingly  over  the  mind.  'Sleeping 
in  Jesus'  seems  in  keeping  with  all  around." 

The  hymn  has  won  much  favor  among  all 
English-speaking  peoples,  and  will  doubtless 
(.ontinue  its  ministrv  of  consolation  to  the 
bereaved  and  sorrowing  until  the  coming  of 
Ihat  day  when  it  will  be  said,  "Death  is 
swallowed  up  in  victory." 


307 


XXXIX 

CROSSING   THE   BAR 

^^Xotliing  that  Tennyson  has  ever  written,'^ 
declares  Dr.  Henry  van  Dyke,  as  quoted  by 
Mr.  Siitherhmd  in  The  DcUneator,  for  Decern- 
ber^  11)05,  ''is  more  beautiful  in  body  and  soul 
than  H'rossing'  the  Bar.'  It  is  perfect  poetry 
— simple  e\en  to  tlie  verge  of  austerity,  yet 
rich  with  all  the  suggestions  of  wide  ocean 
and  waning  light  and  vesper  bells;  easy  to 
understand  and  full  of  music,  yet  opening 
inward  to  a  truth  which  has  no  words,  and 
pointing  onward  to  a  vision  which  transcends 
all  forms;  it  is  a  delight  and  a  consolation,  a 
song  for  mortal  ears,  and  a  prelude  to  the 
larger  music  of  immortality." 

The  text  of  this  beautiful  lyric  is  as  fol- 
lows : 

Smiset  and  eveninsr  star, 

And  one  clear  call   for  me! 
And  may  there  be  no  moaning  of  the  bar 

When  I  pnt  to  sea. 

But  snch  a  tide  as  moving  seems  asleep. 
Too  full  for  sound  and  foam, 

308 


ALFRED,   LORD    TENNYSON. 


crOkSkSIxg  the  bar 

When  that  which  drew  from  out  the  hound- 
less  deep 
Turns  again  home. 

Twilight  and  evening  hell, 

And  after  that  the  dark ! 
And  may  there  he  no  sadness  of  farewell 

When  I  emhark ; 

For,  though  from  out  our  borne  of  time  and 
place 

The  flood  may  iSear  me  far, 
I  hope  to  see  my  IMlot  face  to  face 

When  I  have  crossed  the  bar. 

Alfred,  Lord  Teniivson,  wrote  these  lines 
in  1889,  and  they  at  once  struck  such  a  chord 
of  popular  sympathy  as  soon  won  for  them 
a  place  in  church  hymnody.  In  producing 
them  their  author  had  no  thought  of  writing 
a  hymn,  however,  and  possibly  a  strict  ad- 
herence to  his  own  ideal  of  what  a  good 
hymn  should  be  would  exclude  them  from 
the  realm  of  church  hymnody  altogether. 

"A  good  hymn/'  he  tells  us,  '^is  the  most 
difficult  thing  in  the  world  to  write.  In  a 
good  hymn  you  have  to  be  commonplace  and 
poetical.  The  moment  you  cease  to  be  com- 
monplace, and  put  in  any  expression  at  all 
out  of  the  common,  it  ceases  to  be  a  hymn.'' 

"Crossing  the  Bar"  will  always  appeal  suc- 
cessfully   to    popular    favor   because    of   the 

309 


HYMNS  THAT  ARE  IMMORTAL 

gemiine  poetry  which  breathes  in  its  utter- 
ances, but  is  there  not  too  much  ^'out  of  the 
common"  in  it,  and  also  too  much  irregularity 
in  its  meter,  to  admit  of  its  ever  becoming 
l)0])ular  as  a  hymn?  However  this  may  be, 
the  poem  has  found  its  way  into  some  prom- 
inent church  hymnals  on  both  sides  of  the  At- 
lantic, and,  as  a  lyric  for  devotional  use  on 
occasions  important  but  somewhat  rare,  it  is 
likely  to  hold  its  place  and  enlarge  its  sphere 
of  inliuence. 

The  story  of  its  origin  is  related  in  Hallam 
Tennyson's  "Memoir"  of  his  father  (Volume 
IT.,  pp.  3G6,  307)  as  follows:  "'Crossing  the 
Bar'  was  written  in  my  father's  eighty-first 
year,  on  a  day  in  October  when  we  came  from 
Aldworth  to  Farringford.  Before  reaching 
Farringford  he  had  the  ^loaning  of  the  Bar 
in  his  mind,  and  after  dinner  he  showed  me 
this  j)oem  written  out. 

"T  said,  'That  is  the  crown  of  your  life's 
work.'  Tie  answei^ed,  'It  came  in  a  moment.' 
He  explained  the  'TMlot'  as  'that  Divine  Un- 
seen who  is  always  guiding  us.' " 

Mr.  Hallam  Tennyson  also  says,  in  the 
same  connection,  "A  few  days  before  my 
father's  death  he  said  to  me:  'Mind  you  put 
"Crossing  the  Bar"  jit  the  end  of  all  editions 
of  my  i)oems.'  " 

310 


CROSSIXG  THE  BAR 

Space  is  lacking  for  even  a  brief  sketch  of 
the  illustrious  poet's  life  who  wrote  this  ex- 
quisite swan-sonii\  the  l)reathini»s  of  which 
were  remarkably  fulfilled  in  the  closing  of  his 
mortal  career.  One  of  his  physicians,  Sir 
Andrew  Clark,  declared  Lord  Tennyson's  the 
most  glorious  death  he  had  ever  witnessed. 
*'The  tide  of  his  life  ebbed  peacefully  out  into 
the  ureat  ocean  of  eternity,  and  so  calmly  did 
he  respond  to  the  beckoning  hand  of  the  death 
angel  that  those  who  stood  about  his  bed 
s<'arcely  knew  when  the  end  came.  *  ""  * 
There  could  not  ha  ye  been  a  gentler  passing 
of  a  soul  to  its  Creator.-' 

^'Crossing  the  Bar"  was  published  the  same 
year  it  was  written,  in  "'Demeter  and  other 
Poems,"  and  at  once  became  popular.  The 
lirst  use  of  it  as  a.  hymn  was  at  Lord  Tenny- 
son's funeral  in  Westminster  Abbey,  October 
12,  1892.  The  occasion  itself  was  one  of  ex- 
traordinary im])ressiveness  and  of  world-wide 
interest,  and  the  scene  at  the  interment  of 
the  body  in  Westminster  Abbey  has  been  pre- 
served in  a  gTa}>hic  pen  ])icture  drawn  by  the 
daughter  of  the  Dean  as  follows:  "As  the 
procession  slowly  passed  u^)  the  nave  and 
paused  beneath  the  lantern,  where  the  coffin 
was  placed  during  the  first  inirt  of  the  burial 
service,  the  sun   lit  up  the  dark  scene,   and 

311 


HYMNS  TUAT  ARE    IMMORTAL 

loiiclied  the  red-and-blue  union  jack  upon  the 
coiiin  witli  brilliant  lij;ht,  filtered  throngli 
the  jtainted  jsanes  of  Chaucer's  window  on 
the  cleared  purple  sjjace  by  the  oj)en  grave, 
and  lighting  up  the  beautiful  bust  of  Dryden, 
the  massive  head  of  Longfellow,  the  gray 
tomb  of  Chaucer,  and  the  innuni.erable 
wreaths  heajied  upon  it.  In  the  intense  and 
solemn  silence  which  followed  the  reading  of 
the  lesson  vvere  heard  the  voices  of  the  choir 
singing  in  subdued  and  tender  tones  Tenny- 
son's ^Crossing  the  I>ar' — those  beautiful 
words  in  vrliich  the  poet,  as  it  were,  foretold 
his  calm  and  ])eaceful  deathbed.  In  the  sec- 
ond line  the  clear,  thrilling  notes  of  a  boy's 
voice  sounded  like  a  silver  trumpet  call 
anions:  the  arches,  and  it  was  onlv  at  inter- 
vals  that  one  distinguished  Dr.  Bridge's  beau- 
tiful organ  accompaniment,  vrhicli  swelled 
gradually  from  a  subdued  murmur,  as  of  the 
moaning  tide,  into  a  triumphant  burst  from 
the  voices,  so  blended  together  were  words 
and  music." 

The  Presbyterians  were  the  first  to  give 
"Crossing  the  Bar"  a  place  among  the  hymns 
of  the  Church.  "A  committee  of  the  Free 
Church  of  Scotland  engaged  Sir  Joseph  Barn- 
by  to  set  it  to  music,  and  printed  it  in  their 
'Home  and  School  Hymnal'  of  1S9.3.    In  this 

312 


CROSJ^INO  THE  r>AR 

countrv  also  the  Presbvterians  were  the  first 
to  include  it  aiiionjii"  their  hymns,  it  ai)i)earing 
in  'The  Ilyinnar  of  1895.  It  has  since  ap- 
])earecl  in  "The  Church  Hymnarv'  of  the  Scot- 
tish churches  in  several  independent  collec- 
tions." 

y\i'.  Edward  Lushington  made  a  transla- 
tion of  "<'rossing  the  Bar"  into  Greek  which 
Lord  Tennyson  regarded  as  the  finest  trans- 
lation he  had  ever  read,  and  which  Hallam 
Tennyson  reproduces  in  a  foot-note  connected 
with  his  account  of  tlie  poem  as  given  ahove. 

"^>unset  and  Evening  Star"  was  a  favorite 
of  Dr.  George  Yardlev  Tavlor,  the  brii-iant 
young  ])hysician  who  gave  up  his  life  so  hero- 
ically at  Paotingfu.  China,  in  the  niiassacre 
of  June.  1900.  During  the  days  preceding 
the  traced V,  the  little  circle  of  men,  women 
and  children,  who  were  so  soon  to  seal  their 
faith  with  their  blood,  frequently  gathered 
about  the  organ  in  the  compound  and  sang 
the  songs  of  the  home-land,  now  doubly  dear 
and  consoling  to  them  because  of  tlieir  help- 
lessness and  need ;  and  with  pathetic  pre- 
science Tennyson's  beautiful  sunset  hymn 
was  always  included.  It  would  be  difficult 
1o  iuiagine  a  greater  contrast  than  that 
which  existed  between  the  ])eaceful  surround- 
ings of  the  gifted  author  when  he  "crossed 

313 


HYMNS  THAT  ARE  IMMORTAL 

the  l>ar"  in  tlie  earlv  autumn  morninj>'  and 
tbe  wild  tnniult  through  which  these  brave 
young  missionaries  went  to  their  martyrdom  ; 
l)ut  Ave  doubt  not  that  the  same  gentle  Pilot. 
y\\\o  stood  in  the  quiet  moonlit  chamber, 
while  "the  casement  slowly  grew  a  glimmer- 
ing square,"  was  also  ''keeping  watch  above 
His  own''  at  the  awful  carnage,  and  that 
after  the  ^'twilight  and  evening  bell"  ITe  ten- 
derly guided  them  all — poet  and  martyrs — 
to  their  desired  haven,  to  be  with  Him  forever 
in  ''a  house  not  made  with  hands,  eternal  in 
the  heavens/' 


314 


FUTURK    IvIFK 


31; 


XI. 

JOYOUS   PROSPECT   OF   IMMORTALITY 

Xo  production  within  the  whole  compass 
of  church  hvnmodv  more  vioorously  and 
beautiful  It  sets  forth  the  joyous  prospect  of 
iriimortality  to  which  believers  are  begotten 
through  the  gospel  than  the  following  from 
the  pen  of  Charles  Wesley: 

And  let  this  feeble  body  fail 

And  let  it  faint  or  die : 
My  sonl  shall  quit  the  mournful  vale 

And  soar  to  worlds  on  high : 
Shall  join  the  disembodied  saints, 

And  find  its  long-sought  rest. 
That  only  bliss  for  which  it  pants 

In  the  Redeemer's  breast. 

In  hope  of  that  immortal  crowm 

I  now  the  cross  sustain. 
And  gladly  wander  up  and  down, 

And  smile  at  toil  and  pain: 
1  sufl'er  on  my  threescore  years, 

Till  my  Deliverer  come. 
And  wipe  away  ITis  servant's  tears, 

And  take  Ilis  exile   home. 


HYMNS  THAT  ARE  IMMORTAL 

0  ^^ilat  luith  Jesus  bought  for  me! 
Before  my  ravished  eyes 

TJlvers  of  life  divine  I  see 
And  trees  of  Paradise: 

1  see  a  world  of  spirits  l)riL'-ht, 
AVho  taste  the  pleasures  there : 

They  all  are  robed  in  spotless  white, 
And  conquering  palms  they  bear. 

O  what  are  all  my  sufferings  here. 

If,  Lord,  Thou  count  me  meet 
With  that  enraptured  host  to  appear, 

And  worship  at  Thy   feet  I 
Give  joy  or  grief,  give  ease  or  pain. 

Take  life  or  friends  away, 
But  let  me  find  them  all  again 

In  that  eternal  day. 

Tune — "Roberts." 

This  is  one  of  Wesley's  "Funeral  Hvmns/' 
published  in  1759.  The  original  contained 
nine  stanzas.  The  foregoing  abridgment 
comprises  stanzns  one  and  two,  the  first  half 
of  stanzas  five  and  six,  and  stanza  nine  of  the 
original,  's^ith  n  fe^v  slight  but  important 
alterations  which  first  api)eared,  according 
to  Dr.  Xntter,  in  the  ''York  Pocket  Hymn- 
Book"  in  178G. 

This  noble  lyric  has  been  greatly  blessed 
to  thousands  of  God's  dear  saints  in  life  and 
in  the  hour  of  death.  It  >vas  a  great  favorite 
with  the  waiter's  father,  and  often  did  the 
good  man  cheer  his  own  heart  and  brighten 

318 


PROSPECT  OF  IMMORTALITY 

his  own  lioi)e  in  seasons  of  trial  by  llie 
singing  of  its  exalted  and  inspiring  strains. 
All  who  were  intimately  accpiainted  with  the 
late  Rev.  B.  T.  Roberts  will  also  remember  it 
as  a  hymn  that  was  often  on  his  li])s,  and 
tliat  to  the  inspiration  aiul  con; fort  of  both 
liimself  a!id  those  abont  him. 

The  singing  of  the  sljinza  bcoinnino-, 

"O    wli.-it   lijith   Jesns  boujrlit  for  mo  I" 

by  a  i)ious  yonng  lady  who  was  ill,  about  half 
a  centnry  ago,  resulted  in  the  conversion  of 
her  brotlier,  sitting  by  her  side  as  she  sang. 
He  was  led  to  ask  himself,  ^*Has  Jesns 
bought  nothing  for  me?"  Following  this 
awakening  he  sought  and  found  pardon,  and, 
not  long  after,  both  the  brother  and  sister, 
accompanied  by  anotlier  brother,  left  their 
native  country  to  labor  as  missionaries  in 
the  island  of  Ceylon. 

'^Tliousands  of  pious  souls  Iiave  been  cheer- 
ed bv  the  words  of  this  hvmn,"  savs  ^Ir. 
Stevenson,  "while  passing  through  the  dirk 
valley.  There  is  not  a  verse  of  it  but  has 
been  made  a  blessing  to  some  pilgrim..''  It 
is  a  hymn,  too,  that  will  live  to  be  n>ade  a 
blessing  to  thousands  more  as  the  successive 
generations  of  mankind  appeal*  and  pass 
awav. 

319 


XLI 

THE  I,AND   OF   PURE   DELIGHT 

There  is  a  land  of  pure  delight, 

Where  sahits  immortal  reign ; 
Infinite  day  excludes  the  niglit, 

And  pleasures  banish  pain. 
There  everlasting  spring  abides, 

And  never-withering  flowers ; 
Death,  like  a  narrow  sea,  divides 

Tliis  heavenly  land  from  ours. 

Sweet  fields  beyond  the  swelling  flood 

Stand  dressed  in  living  green  ; 
So  to  the  Jews  old  Canaan  stood, 

Wliile  Jordan  rolled  between. 
But  timorous  mortals  start  and  shrink 

To  cross  this  narrow  sea. 
And  linger,  shivering  on  the  brink, 

And  fear  to  launch  away. 

Oh,  could  we  make  our  doubts  remove, 

These  gloomy  doubts  that  rise. 
And  see  the  Canaan  that  we  love 

With  unbeclouded  eyes ; 
Could  we  but  climb  where  Moses  stood, 

Aiid  view  the  landscape  o'er, 
Not  Jordan's  stream,  nor  death's  cold  flood. 

Should  fright  us  from  that  shore. 

Tune — "VarixNa." 

320 


THE  LAND  OF  l^UKE  DELIGHT 

Dr.  Isaac  AYatts  composed  this  beantifvil 
liyniD  of  faith  and  hope  while  vet  a  yoirnj:^ 
iiiau,  and  published  it  under  the  iK-cnIiar 
title,  ''A  Prosper^t  of  Heaven  Makes  Death 
Easy."  It  is  a  "familiar  son<»-  of  the  a<>es 
now,  OTie  of  the  'folk-songs'  of  the  American 
])eo]de  at  least."  During  upwards  of  thirty 
years  of  ministerial  life,  in  which  he  has 
traveled  quite  extensively,  the  writer  has 
found  no  ])lace  where  the  hymn  is  not  famil- 
iar. 

Dr.  A^'atts  wrote  this  hyn>n  "at  his  native 
home  in  Southampton,  while  sitting  at  the 
window  of  a  parlor  which  overlooks  the  river 
Itchen,  and  in  full  view  of  the  Isle  of  Wight. 
The  landscape  there  is  very  beautiful,  and 
forms  an  enchanting  model  for  a  poet  when 
describing  tlie  Paradise  above." 

The  hymn  is  sweet,  beautiful,  and  inspir- 
ing, breathing  the  atmos])here  of  hope  and 
aspiration  with  regard  to  life  beyond  the 
tomb,  and  yet  is  exi)ressive  of  a  hope  that 
trembles  and  shrinks  because  of  the  unclear- 
ness  of  its  vision.  In  this  i-espect  it  is  less 
exultant  than  the  hymns  of  Dr.  Stennett  and 
Charles  Wesley  written  on  similar  themes. 
Dr.  Btennett  wrote  the  hymn  beginning,  ''On 
Jordan's  stormy  banks  I  stand,"  in  which  he 
exultingly  exclaims, — 

321 


HYMN8  THAT  ARE    IMMORTAL 

"Filled  with  delight,  my  rnptured  soul 

Would  here  no  longer  stny  : 
Though  Jordan's  waves  around  nie  roll. 
Fearless  I'd  launch  away ;" 

and  Charles  Wesley,  in  liis  hymn  on  ''The 
Spirit  and  the  Bride  say,  Come,"  sings  in 
loftiest  strains  of  holy  triumph, — 

"The  promised  land  from  Pisgah's  top 
I  now  exult  to  see ; 
My  hope  is  full   (O  glorious  hope!) 
Of  immortality." 

This  hymn  has  ever  had  peculiar  attrac- 
tions for  t!ie  suffering  and  the  dying,  and  also 
for  the  bereaved  and  sorrowing.  Its  charm 
for  these  classes  is  due  chieflv  to  the  sw^eet 
and  full  assurance  with  which  its  first  stanza 
speaks  of  the  celestial  Canaan  and  the  en- 
ciianting  imagery  in  which  it  describes  the 
virtues  of  that  heavenly  country.  Pages 
could  ])e  filled  witli  instances  in  which  the 
hymn  has  been  a  solace  and  an  inspiration 
to  weary  pilgrims  at  the  fording  of  Jordan, 
and  to  tliose  wdio,  at  the  brink  of  the  river, 
have  watched  as  their  loved  ones  embarked, 
and  then  have  turned  away  to  linger  yet  a 
little  in  loneliness  and  sorrow^  before  being 
j)ermitted  to  join  them  in  their  celestial 
home,  but  our  space  is  too  limited  for  the  in- 

322 


THE   LAND  OF  PURE   DELIGHT 

trodiiction  of  tliese  interesting  narratives 
here.  ^lav  the  vision  which  is  the  burden  of 
this  charming  lyric  and  the  hope  which  it  in- 
spires afford  both  the  writer  and  his  readers 
support  and  cheer  in  the  hour  of  their  fare- 
w^ell  to  earthly  scenes  and  relationships. 


323 


XLII 

FOREVER   WITH   THE   LORD 

"Forever  with  the  Lord  !" 

Amen,  so  let  it  be ! 
Life  from  the  dead  is  in  that  word, 
'Tis  immortality. 


Here  in  the  body  pent, 
Absent  from  Him  I  roam, 

Yet  ni.ichtly  pitch  my  moving  tent 
A  day's  march  nearer  home. 


"Forever  with  the  Lord !" 

Father,  if  'tis  Thy  will, 
The  promise  of  that  faithful  word, 

E'en  here  to  me  fulfil. 


So  when  my  latest  breath 
Shall  rend  the  vail  in  twain, 

Ky  death  I  shall  escape  from  death, 
And  life  eternal  gain. 

Knowing  as  I  am  known. 

How  shall  I  love  that  word. 
And  oft  repeat  before  the  throne, 

"Forever  with  the  Lord  I" 

324 


FOREVER  WITH  THE  LORD 

"Forever  with  the  Lord !" 

AuKni,  so  let  it  be. 
Life  from  the  dend  is  in  that  word, 

Tis  immortality. 

Tune — "Nearer  Home." 

This  is  auotber  of  James  ^roDt<>oiii- 
ery's  invaluable  tontrilmtions  to  Christian 
hynmody.  He  first  published  it  in  1827,  in 
two  i)arls,  the  first  containing'  nine  stanzas 
and  the  second  thirteen.  The  hvnni  as  here 
given  comprises  stanzas  one,  two,  fourteen, 
sixteen,  seventeen  and  twentv-two,  of  the 
original,  unaltered.  Referring  to  the  favor 
the  i)roduction  received  in  his  time  from  the 
Cliristian  public  the  authou  once  said,  ''I  re- 
ceived directly  and  indirectly  more  testimo- 
nials of  approbation  in  reference  to  these 
verses,  than  jterliaps  any  others  I  have  writ- 
ten of  the  sauie  class,  with  the  exception  of 
those  on  prayer." 

^Ir.  Stevenson  in  commenting  on  the  hymn 
aptly  says,  "This  is  one  of  those  strains  of 
sacred  thought,  which,  having  once  taken 
hold  of  the  public  mind,  will  live  in  the  serv- 
ice of  song  to  the  end  of  time.  "  *  *  Tlie 
hvmn  remained  unsuns;  and  unnoticed  for  a 
quarter  of  a  century,  when  it  was  introduced 
to  the  public  with  a  tune  which  was  so  well 
fitted  io  exhibit  the  force  and  beauty  of  tlie 

325 


HY.MXS  THAT  ARE  IMMORTAL 

words  that  the  time  lias  recominended  the 
hymn.  *  *  *  Tn  Yorkshire,  in  which  coun- 
try it  was  written,  tlie  hymn  is  a  great  favor- 
ite, and  it  lias  frequently  been  used  by  dying 
Christians  who  luid  before  them  the  bright 
reality  of  being — 

'Forevor  with  the  Lord.' 

^'At  one  of  the  conferences  of  the  ^Methodist 
Free  Church  held  in  Leeds,  soon  after  the 
hymn  was  first  introduced  to  Methodist  read- 
ers, it  was  sung,  and  such  a  depth  of  spirit- 
ual ])ower  fell  upon  the  assembly,  that  the 
Rev.  James  Everett,  then  an  octogenarian, 
(werwhelmed  with  emotion,  fell  prostrate  in 
devout  adoration  as  tlie  singing  progressed. 
This  was  witnessed  by  the  conference,  and 
the  members  knew  the  intense  affection 
which  existed  between  ^lontgomery  and  Ev- 
<M'ett."  Tt  is  no  wonder  that  all  were  power- 
ful Iv  moved  at  beholding  this  spectacle. 


326 


